Critical discussion of at least three poems Essay

Comp ar the ways in which the poets write roughly unhappiness and scurvy. In your response you must include a captious discussion of at least three rimes. Throughout this comparative analysis, I w unhealed discuss the various ways in which the poets use lexis, workforcetal imagery and structure to convey the idea and makeups at bottom the text. I bedevil chosen Lizzie, sixer and jibe Stars by Carol Ann Duffy and Requiem for the Croppies by Seamus Heaney. The poems are all linked with pain by the hands of an oppressive force.Lizzie by her maltreater, the Jewish heroine by the national socialists and the Irish by the slope. The poems purpose vivid and individual style to describe mutual suffering within varied circumstances. The titles of each poem are intended to capture the subscribers attention from the start. Lizzie, sestet, is laid out as such to identify of battle the youth of the character of Lizzie. Not only in her name cosmos abbreviated in a youthful man ner, provided the placement of the comma butterfly slows the reviewer down, forcing them to contemplate the purity of a child that age.She is able to stool an immediate sense of dread. In wound Stars, Duffy provides us with an ambiguous beginning. Stars is interpreter of the Star of David and dead reckoning in the literal sense of the stars solid ground shot. Alternatively, Duffy whitethorn switch been using the title metaphorically as a shooter star, phonation of fleeting life for the Jewish people passim the Nazi regime. The alliteration in shoot Stars, is as well a mind hoarfrost for Saal-Schutz, the Nazi SS Army.In Requiem for the Croppies, Requiem defined as a Mass for the repose of the souls of the dead is intended to offer peace to the thousands that died at the hands of the English and those that died being the Croppies, the Irish men defending their grunge who cut their hair into a cropped fashion as a soft touch of rebellion. It is a gesture of praise and th anks and a wish for restfulness for those men whose lives were taken in the uprising of 1798. Samir Raheem describes it as a poem that romantically commemorates the Irish rebels. (Rahim, Telegraph, 2013). The word Croppies is in any case a rhyme for poppies, a sign of recollection.The variation and structure is indicative to the main themes of each poem and as a further mental picture the suffering the characters, cultures or countrymen have endured. instance of this is in Lizzie, 6, Duffy lays out the poem in a series of louver stanzas with a call and response from the abuser and the ab apply narrative, typical in nature of a nursery rhyme and resonant particularly to the base Little Red Riding Hood. Critic Stan Smith describes Lizzie, hexad as a plangent, Lorcaesque song. Barry Wood stated that Duffy knew Lorcas meter or at least drew on alike(p) traditions of best-selling(predicate) childs songs and rhymes (Wood, Tusitala. org. uk, 2007).The structure is repetitive an d creates a sprightliness of tension. The repetition is also significant in the nature of the prolonged abuse, loss of sinlessness and suffering Lizzie is subjected to. The abuser also remains unidentified as it would be too uncomfortable for the reader to relate to the suffering the abuser inflicts (Morgan, Classnotes, 2015). In Shooting Stars, Duffy keeps the four line stanzas to create a similar notion of repetition of abuse and more likely to emphasize the routine and the standard, desensitised, lilting executions carried out by Nazi spends.Shooting Stars is written as a rootage person narrative and similarly to Lizzies abuser, her character is unidentified. This however, is to hold the reader grasps the point that so many an(prenominal) some other Jews died namelessly during this period of persecution, highlightinging the suffering. Heaney in Requiem takes a completely different undertake in the structure of the poem and instead lays it out in the form of a sonnet. This is a mark of respect and love for the Irishmen who suffered and a juxtaposition to the ill respect leavenn by their oppressors. Written from the 3rd person narrative from the scene of the Irish Rebels.Each line has roughly 10 or 11 syllables to it or just everyplace, dictating the pace and the solemn, valiant story telling sentiment of the poem, an element similar to that of Lizzie. Six. Lizzie, Six uses sulky and negative lexis throughout to annex the feeling of the suffering inflicted and the dialogue between the characters is disturbing. The doubling of the words corn liquor, handle, love, wood and dark in lines 2 and 3 of each stanza are offered primarily in the view of the innocence of a child, i. e. In literature, the moon is reciprocally linked to imagination and fields to that of liberty etc.Secondly the words are manipulated by the heavy(p) abuser, printingively stripping the original association of the word and replacing it with a dread(a) alternative sho wing the aspiration of emotional abuse. Wood says that Duffy presents a affecting example of broken listening, of in this case the adult attendant refusing to hear or misinterpreting what is heard and of the child destroyed by being unheard and ignored (B Wood, 2006). It also represents consistent and worsening abuse as the words start with a lighter, childlike tone moon, fields and literally end with dark.The use of language in Lizzie, Six is vulgar, particularly towards the end of the poem Duffy uses this to show how the level of abuse and suffering worsens throughout the poem and over time and transitions from mental to bodily suffering. She shows this in the penultimate stanza when the abuser says Ill give you wood, when your bottoms superfluous. Wood is a disturbing metaphor and the literal intention the abuser becomes apparent here. The abuser asks in stanza five Where are you hiding? Duffy uses this to spare the reader to expose the abuser demonstrating his menacing mental control over Lizzie as she is powerless to hide from him.In the sixth stanza, the abuser asks why are you crying? a physical display of an emotional response. (Morgan, Classnotes, 2015). Duffy shows a similar representation of the emotional and physical substantivems of suffering in Shooting Stars. I heard the click. Not yet. A trick The Nazi soldier at the time of the handleers execution uses excessive abrasiveness and mental torture in toying with his victim and the short prison terms at the end of the line create tension and a sense of the real experience of the woman and the power wielded by the soldier (MissGrant, 2015).Duffy demonstrates physical apprehension in the third stanza at the veneration of rape from the Nazis My bowels opened in a ragged gape of fear. Duffys word choice here is extreme but emphasizes the sheer little terror that a woman would go through in this situation. The gape is representative of a screaming mouth (MissGrant, 2015) and is inten tionally inversed as gagged rape. The effect it has is it to double the meaning and subsequently intensify the horror of the suffering she endured in this situation.Heaney represents the emotional suffering in the form of their love of the country, not needfully the Irishmen individually but as a whole, due to the oppression from the English we moved quick and sudden in our own country. Heaney demonstrates the bitterness of the Irish in this sentence and the priest lay behind ditches with the rear end Heaney juxtaposes the holiest man with the lowliest man, neither had any advantage over the other when it came to debacle from their oppressors.The personification Heaney offers upon the Irish defeat on Vinegar Hill The Hillside blushed, wonky in our broken wave Provokes the emotional and physical in the form of slight embarrassment at their being ill equipped to deter the English attack shaking scythes at cannon but also the physicality or their blood staining the green of the fields to red. The initiatory and last line include the imagery of barley, a symbol for revolution and independence (Morgan, Classnotes, 2015).Heaney uses Irony from the barley that the Irish rebels carried in their pockets for food, was in situation the very same that enabled the barley to grow up out of the telling fertilized by the blood of Irish souls. Critic Paul mischief says that the first line The pockets of our greatcoats full of barley and the last line And in grandfied the barley grew up out of the grave are contrived. They belong to the world of self-consciously significant details which are routine in many war films, in films of all kinds (Paul Hurt, 2015).But Critic Blake Morrison said that Seamus Heaney is that rare thing, a poet rated highly by critics and academics yet popular with the common reader and as a common reader, Im rather given over to appreciate the majestic quality and symbolism of the re-birth of an army ready to weigh and again. each three p oems have a common romp with the echoed mournfulness and ill treatment and respect impose from their oppressors with mass and shallow grave in Shooting Stars and Requiem they buried us without shroud or coffin and between the gaps of corpses I could see a child.And in Lizzie, Six, the abusers final statement Ill give you the dark and I do not like. The sentence and grammar structure in Lizzie, Six, is rigid and unchanging. The first line of each stanza is a question from the abuser, the atomic number 16 a response from the abused and in the third and fourth lies a demonic manipulation of Lizzies answer Wood says The childs fear is answered only by a distorted or distorting echo from the adult world which, if less brutal and punitive than the world of Lizzie, Six, is equally isolating and disquieting. (B Wood, 2006) Possibly Duffy used this sentence structure to emphasise the unmitigated suffering in the emotional, and physical that Lizzie faces. In Shooting Stars, Duffy take s an alternative approach and to represent the last thoughts of a dying woman offers a genuine level of enjambment within the text. The punctuation is free in that Rebecca Rachel poignancy Aaron Emmanuel David are listed without breath to overdraw the extent of the nameless people that have suffered. This is also a juxtaposition.This continues later in the poem with Sara Ezra Duffy has done this to show the list could go on and on without pause. Almost as if those that have suffered spring to mind too easily for the sheer number of victims. Duffy uses repetition in the use of the word Remember. A resounding theme of the poem is to remember the suffering of an entire run for and to relate this lessons of history to current day struggles. Duffy uses Anaphora in the fifth stanza to reiterate this theme. After coarse suffering someone takes tea on the lawn.After the terrible moans a boy washes his uniform. After the history lesson children run to their toys. Tea on the lawn refers to how universal life can resume so quickly after extortionate events have taken place and can be forgotten as easily as a boy washes his uniform symbolic of the cleanup of the Jewish race (MissGrant, 2015). Heaney uses enjambment to slow the pace. It is used to represent the Irish Rebels speed of movement A people, hardly marching on the hike-, common folk, pacing themselves and climbing a hill, probably wounded, weary and hungry.Enjambment is used where the sonnet breaks form and introducing their demise Until, on Vinegar Hill, the fatal conclave. Heaney uses this sentence structure to slow the reader and to emphasise the fall of the rebels and their devastation emotionally and physically. It adds a dramatic and magnificent tone to their sacrifice. In a similar sub-theme to Shooting Stars, remembrance is also a theme in Requiem, highlighted throughout the poem by Heaneys word choice. Sound, sight, touch and sensation feature regularly in Shooting stars to evoke emotion.Strai ght away we are greeted with silence from the Dead Jew After I no longer speak a tradition of remembrance. We have a glimpse into her life that she was married, Duffy displays this with the get hitched with ring, the dear that caused the sensation of urine trickling down her legs a physical display of an emotional response. And the brutal and callous touch of the soldiers to salvage what they see as the only valuable part of her when they break her finger to call back her wedding ring. Duffy uses the element of Marriage to re-inforce human emotion as a juxtaposition against the desensitised Nazis.Duffy also uses onomatopoeia in the word click to highlight the mental torture the soldier imposes on the Jewish prisoner. Assonance and rhymed are used continuously through Requiem to promote the feeling of a steady struggle. kitchens and stricking, sudden and country in the opening lines. bivouacking, tramp, hike and pike are rhymes used every other line. Heaney does this to re-info rce the military tone of the poem, introducing a steady drumming for the rebels to march in time to.Heaney breaks the rhyme momentarily to create a sense of doom. He shows this in the final conclave. Heaney returns immediately to the rhyme to emphasise the re-birth of the soldiers and the grandness of the remembrance for the those who suffered so they could live. Duffy uses a similar technique in Shooting Stars in opened the ragged gape of fear to re-inforce horror of the statement. She also uses alliteration in Rebecca Rachel Ruth and uses traditional Jewish names to combine the exhaustive list of those who suffered.In Lizzie, Six, Duffy uses consonance rather than vowel rhyme and alliteration, most implied to Anaphora to accentuate the nervous disposition of the reader What, Where, What, Where, Why at the beginning of each stanza and consonance in Im panic-stricken of the dark. Ill give you the dark and I do not care similar to the techniques used in Shooting Stars in the firs t line uses consonance and an imperfect pararhyme speak and break in the first line. an all three poems have a common theme of rhyme, but the intention is different.Lizzie, Six and Requiem show tail rhyme and holorime both in an effort to make the poem memorable, but Duffy uses this in Lizzie, Six to exaggerate the loss of innocence of a child. Rhyming the poem in a simplistic child-like manner emphasises the haunting suffering. Whereas Heaney uses this technique to signify the remembrance theme of the poem, taking the literal of making the poem memorable and easy to read. All three poems have a common connection to the suffering imposed from an oppressor. For Lizzie, Six, Lizzie is suffering at the hands of her abuser.For Shooting Stars, the Jewish women and the Jewish race are suffering from the oppression of the Nazis and for Requiem for the Croppies, the Irishmen suffering for the loss of their subvert to the English. Shooting Stars and Requiem have a sub-theme of remembrance and Lizzie Six, the loss of innocence. though loss of innocence can be found in Shooting Stars and Requiem, their sufferance is predominantly for a race, and land rather than innocence. Regular assonance and consonance are used throughout all three poems, but to different ends, similarly with intentional use of rhyming.The poems vividly highlight suffering throughout, with careful word choice, simplistic yet vulgar in Lizzie, Six to make the suffering more haunting, Grim and factual in Shooting Stars to exaggerate the horror of the suffering and militant and simple to aid the remembrance of the those who suffered in Requiem for the Croppies.ReferencesGardiner, M. (2015). Summaries of selected poetry by Seamus Heaney (Higher School Certificate 1998). online Files. puzzling. org. procurable at https//files. puzzling. org/wayback/hsc/heaney Accessed 17 Nov. 2015. Grant, M. (2015). online View. officeapps. live. com. available at https//view. officeapps. live. com/op/view. aspx? src=h ttp%3A%2F%2Fmissgrantenglish. wikispaces. com%2Ffile%2Fview%2FRevision%2BPack. docx Accessed 18 Nov. 2015. Hurt, P. (2015). Paul Hurt on Seamus Heaneys The Grauballe Man and other poems. online Linkagenet. com. Available at http//www. linkagenet. com/reviews/heaneypoemcriticism. htm dirge Accessed 18 Nov. 2015. McMahon, D. (2013).A quick reading of Seamus Heaneys Requiem for the Croppies. online pulpteacher. Available at https//pulpteacher. wordpress. com/2013/03/13/a-quick-reading-of-seamus-heaneys-requiem-for-the-croppies/ Accessed 17 Nov. 2015.