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English > Poetry - Part 2 (7 Poems) > Flashcards

Poetry - Part 2 (7 Poems) Flashcards

1
Q

CONTEXT

Half-caste

A
  • Agard moved from guyana to england
  • guyanese father + portugese mother
  • explores issues to do w/ race
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2
Q

FORM

Half-caste

A

perspective, ‘excuse me’:
* previous politness in face of racism
* shifting to sarcasm OR
* shifting to a challenge to those who are racist
* ‘ex’ - harsh constant

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3
Q

STRUCTURE

Half-caste

A

short start & end stanza, long middle stanza:
* start and end stanza r 3 lines, sense that resolution has been found
* middle stanzas - rant like, passive stream of concious
* start stanza - empethetically introduces topic

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4
Q

LANGUAGE

Half-caste

A

juxtaposition ‘light an shadow’:
* aspects of speakers character are at odds
* reflects parentage
* feels contrasting abt himself
* ends with ‘whole’ - reader gaining sense of self at end

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5
Q

LANGUAGE 2

Half-caste

A

carribean dialect, ‘yu’:
* dialect relfects speaker
* speaker can take ownership of his own identity

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6
Q

CONTEXT

No Problem

A
  • he likes to use parody format
  • likes use of humorous and hopeful tone
  • work is often lyrical & rhythmic
  • shaped by political & environmental movements
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7
Q

FORM

No Problem

A

two stanzas:
* sense of divide - mirrors content
* first stanza: positive, ‘versatile’
* second stanza: thoughtful of effects of racism, ‘affect/ As he get older’
* humour unifies 2 stanzas

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8
Q

STRUCTURE

No Problem

A

ABCB rhyme scheme:
* not wholly reliant on ABCB - mirrors disconnection and divide between ppl and himself bc of racism
* more natural + carribean dialect - speaker is casually talking to reader
* subtle half rhymes, ‘stunt’ & ‘brunt’

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9
Q

LANGUAGE

No Problem

A

direct address, ‘yu’:
* aligns reader w/ ppl who havent experienced racism
* reminds reader racists arent diff class of ppl - reader may hold racist beliefs - interrogation of reader’s beliefs
* speaker having conversatino with reader

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10
Q

STRUCTURE 2

No Problem

A

repetition, ‘I am not de problem’:
* speaker reassuring himself that he is not the issue
* refrences criminalisaiton of black ppl by common media - counters the portrayal

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11
Q

CONTEXT

Catrin

A
  • has 3 kids
  • writes abt nature + uses natural imagery
  • poem stemmed from her daughter asking to skate for 1 more hour
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12
Q

FORM

Catrin

A

bipartite, 2 clear stanzas:
* 1st stanza - past tense, centres around memory of birth
* 2nd stanza - present tense, centres around conflict between mother and daughter
* emphasises time passed between bitrh and present
* increasing speration between mother and daughter

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13
Q

STRUCTURE

Catrin

A

enjambment, ‘Of our struggle to become/ Separate’:
* reflects changing dynamic in relationship between mother/child
* emphasises ‘separate’ - establishes themes of distance & seperation

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14
Q

LANGUAGE

Catrin

A

direct address vs collective pronouns, ‘you’ + ‘I’ vs ‘we’:
* juxtaposes dependence of young baby vs independence of teen
* 1st stanza - collective used, shows closeness of baby and mother
* 2nd stanza - separation, sometimes pronouns of speaker and daughter seperated by enjambment, diff pronouns on diff lines

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15
Q

LANGUAGE 2

Catrin

A

continous metaphor, ‘rope’:
* umbilical cord - importance of physical closeness w/ children + emotional closeness
* weaker in 2nd stanza compared to first stanza
* ‘old rope’ - ‘old’ refers to impact of time on relationship

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16
Q

CONTEXT

Poppies

A
  • weir has 2 sons - wants to explore feeling of child going to war
  • lived thru ‘the troubles’ of 1980s in ireland
17
Q

FORM

Poppies

A

dramatic monologue:
* second person to directly address son
* son never replies - absencce of son, implies death and loss
* second person - focuses on mother

18
Q

STRUCTURE

Poppies

A

free verse:
* uncensored thoughts to convery emotion
* outpouring of emotion - lack of control over emotions, chaos created by war, doesn’t just effect battlefield, affects everyone
* stream of conciousness

19
Q

LANGUAGE

Poppies

A

domestic imagery vs violence, ‘without a winter coat or reinforcments’:
* lack of protection from the cold - violence effects her everyday life
* she needs reinforcments to see her memorial of son - too much emotion
* war prevents everyday life

20
Q

LANGUAGE 2

Poppies

A

unconventional bravery, ‘I was brave’:
* opposes coventional ideas of bravery
* acting bravely by carrying on with everyday life
* brave for sending her son to war

21
Q

CONTEXT

Belfast Confetti

A
  • carson writes abt the Troubles & violence in n. ireland
  • carson got shot at 1969, survived
  • troubles - unionists (yes to UK) vs republicans (yes to ireland) = lots of violence = bomb attacks
22
Q

FORM

Belfast Confetti

A

lack of meter/rhythm:
* mirrors confusion and disoreintation of bombing
* presents more reality
* chaotic

23
Q

STRUCTURE

Belfast Confetti

A

untraditional punctuation & incorrect grammar:
* violent conflict effects communication
* blocked communcation between 2 sides
* semantic field of punctuation, ‘asterix’, ‘colon’
* end, ‘fullisade of question-marks’ - war leads to speaker questioning everytihng around them
* random punctuation - chaos

24
Q

LANGUAGE

Belfast Confetti

A

word choice, ‘labyrinth’:
* sinister - mirrors fear felt by the population
* confusing - no longer know their own cities
* opening word, ‘suddenly’ - active adverb, poem opens in the middle of action

25
Q

STRUCTURE 2

Belfast Confetti

A

asyndetic listing, ‘balaclava, raglan, inkerman’:
* increases pace of poem
* sense of panic & urgency
* refernces crimean war - references historic war, frustration individuals haven’t learnt lessons from history the effects of war

26
Q

CONTEXT

What Were They Like?

A
  • author had lack of formal education = accesible poems
  • author had intensely political poem
  • vietnam war - commy north vs us south
  • took more than 3 mil lives
27
Q

FORM

What Were They Like?

A

numbered question format:
* mimics academic research proposal
* contrasts delicate materials, ‘jade & silver’ & quiet beauty of vietnam

28
Q

STRUCTURE

What Were They Like?

A

two speakers, questioner & responder:
* responder addresses questioner as ‘sir’ = power imbalance
* implies the questioner may be american & person responding is local
* ambigous tone of the poem

29
Q

LANGUAGE

What Were They Like?

A

natural imagery, ‘paddles’, ‘peaceful clouds’:
* pre-war vietnam = rural & peaceful
* ‘jade & ivory’ - precious materials
* lyrical and idyllic
* timeless peace & tranquility
* first speaker - mysterious & oriental
* second speaker - mundane

30
Q

LANGUAGE 2

What Were They Like?

A

tone:
* delicate & beautiful images contrast w/ shocking images
* sadness, elegaic, heaviness - mourns pre-war vietnam
* ‘echoes’, ‘moths’ - ghosts & ghostly phenomena
* ‘who can say’ - conjecture, reflects haunting absence of vietnamese ppl

31
Q

CONTEXT

War Photographer

A
  • poet has interest in fragility of human life
  • several major conflicts across the globe - cold war
  • war photography was dangerous - many were often killed & abducted
32
Q

FORM

War Photographer

A

free verse:
* mimics speaker speaking - not filtering thoughts
* might represent the free flow of info from war photographers

33
Q

STRUCTURE

War Photographer

A

use of tenses:
* 1st stanza = present - confessing false nature of profession
* next stanzas r past, 2 & 3 juxtaposed - drunk girls/girl in conflict country
* 5 - summarises key message, ‘the almost-smile’/’a blood stain on a wall’

34
Q

LANGUAGE

War Photographer

A

sibilance, ‘silk’ & ‘staggering down some devastated street’:
* ‘silk’ - 2nd stanza, echoes fizzing of champagne or giggling of the girls
* ‘staggering down some devastated street’ - 3rd stanza, sinister & evil war, whistle of falling bombs, sound of objects shattering on landscape

35
Q

STRUCTURE 2

War Photographer

A

enjabment & caesura, ‘the little mother/the almost smile’:
* heavily used - causes sense of unease
* unsteady flow of poem makes reader feel insecure, like those in conflict
* combine to create sense of being cut off
* ‘almost-smile’ - hapiness being cut off

English (12 decks)

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