10 MARK COMMONALITY Flashcards
(10 cards)
VALENTINE -
Mrs. Tilchser’s Class - growing up
“tadpoles changed from commas to exclamation marks”
This signifies the evolution of children.
small kids -> adolescence
Also, as children grow and change, they become louder, experiencing stronger emotions, like how an ‘!’ symbolises strong emotional reactions.
Originally - loss of identity
“I remember my tongue shedding its skin like a snake”
simile - tongue doesn’t shed like a snake, but gives the impression, and a cognitive response of her losing her accent, ‘shedding it’ for one more accustomed to her newfound surroundings.
Mrs Midas - identity (motherhood)
“Dream milk burned in my breasts”
referring to breast milk, and how, due to their new unfortunate circumstances, Mrs Midas can no longer bore a child with her husband. This is a major part of her identity, which she has now lost, and is causing her significant distress
The Way My Mother Speaks - Self realisation
“Homesick, Free”
This oxymoronic phrase captures emotional conflict; the speaker feels both the ache of leaving something familiar (homesick) and the empowerment of breaking free (free). It reflects the bittersweet nature of change: growth comes with loss. Duffy uses this contrast to explore how freedom can feel isolating, even as it leads to self-discovery.
War Photographer - contrast, conflict, pain
“A Hundred Agonies” Contrasts with “Rural England.”
A Hundred Agonies is raw, emotional, and direct, evoking human suffering (war, trauma, death). In sharp contrast, Rural England feels peaceful, idyllic, and emotionally distant. This contrast highlights the disconnect between real-world suffering and the passive, protected response of the West, showing how we consume others’ pain from a distance. It critiques apathy and the moral conflict in turning away from horror.
Techniques: Juxtaposition, irony, emotional contrast, understatement.
The Way My Mother Speaks - conflict and pain
“Happy and sad”
Spoken by a mother watching her child grow, “happy and sad” expresses the bittersweet contradiction of parenting. There’s joy in watching the child become their own person and sadness in letting go. It reflects emotional conflict at the heart of change, love that celebrates freedom while mourning closeness. Duffy shows how motherhood is layered, never just one feeling.
Originally - Change, Growing Up
“I want our own country”
This line, spoken from a child’s point of view, captures the raw grief of displacement. It shows a desperate longing for familiarity and identity; the word “our” highlights a deep-rooted connection to a place that defines the self. It conveys emotional resistance to change and how forced transition (like immigration or relocation) can fracture a child’s sense of self. There’s also innocence in the demand, underscoring the speaker’s confusion and heartbreak.
Techniques:
First-person voice – gives immediacy and emotional honesty.
Possessive pronoun (“our”) – emphasises connection and loss.
Direct speech adds realism and vulnerability.
Mrs Tilscher’s Class - self-realisation
“You stared at your parents, appalled”
This line captures a child’s shock and betrayal after being uprooted from everything familiar. The word “appalled” suggests a deep emotional rupture; not just confusion, but anger and horror. The child blames the parents, highlighting the breakdown of trust in a moment of crisis. Duffy uses this to explore how change, especially in childhood, fractures identity and warps relationships.
Techniques:
Second-person narration (“you”) makes it personal and immersive.
Valentine - Violence
“lethal”
The single word “lethal” is a brutal turning point in the poem; it exposes the dark, destructive side of love. Placed abruptly, it jolts the reader, undercutting romantic clichés and reinforcing that love isn’t just tender and sweet; it can be possessive, consuming, even fatal. Duffy rejects sentimentalism and instead presents love as raw, intense, and emotionally risky.
Techniques:
Single-word sentence – creates impact and emphasis.
Juxtaposition – contrasts with expected romantic language.
Ambiguity – emotional or literal danger? Open to interpretation.
