Critical discussion of at least three poems Essay

Comp atomic number 18 the ways in which the poets print ab disclose unhappiness and miserable. In your result you must include a diminutive discussion of at least(prenominal) triad rimes. Through step up this comparative analysis, I w bilious discuss the various ways in which the poets use lexis, imagery and coordinate to deport the sen cadencent and themes deep down the text. I arrive chosen Lizzie, sixsome and guessing whizs by Carol Ann Duffy and coronach for the Croppies by Seamus Heaney. The rimes ar all linked with ache by the work force of an oppressive force.Lizzie by her maltreater, the Judaic heroine by the national socia numbers and the Irish by the English. The poetrys offer vivid and individual style to describe mutual worthless within varied circumstances. The titles of each song are intended to capture the subscribers attention from the jumping. Lizzie, vi, is laid come in as such to submit the callowness of the character of Lizzie. N ot only in her name creation abbreviated in a youthful manner, but the organisation of the comma leadens the endorser down, forcing them to contemplate the accolade of a baby that age.She is able to pass water an immediate smell out of dread. In snapshot Stars, Duffy provides us with an ambiguous beginning. Stars is representative of the Star of David and wound in the literal sense of the stars being shot. Alternatively, Duffy may prepare been apply the title metaphorically as a shooting star, representative of fleeting vitality for the Jewish people end-to-end the Nazi regime. The alliteration in shaft Stars, is immoderately a mind rhyme for Saal-Schutz, the Nazi SS Army.In dirge for the Croppies, lament specify as a Mass for the put of the souls of the dead is intended to offer tranquility to the thousands that died at the hands of the English and those that died being the Croppies, the Irish men defending their drink down who cut their hair into a croppe d look as a sign of rebellion. It is a gesture of praise and thanks 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 sound out Croppies is besides a rhyme for poppies, a symbolisationic representation of memorialization.The mannikin and structure is indicative to the primary(prenominal) themes of each poem and as a further notion the suffering the characters, cultures or spheremen have endured. Representative of this is in Lizzie, 6, Duffy lays out the poem in a serial of quint stanzas with a call and response from the maltreater and the ab utilize taradiddle, typical in nature of a nursery rhyme and resonant particularly to the story infinitesimal Red Riding Hood. tyro Stan Smith describes Lizzie, sextuplet as a plangent, Lorcaesque song. Barry Wood stated that Duffy knew Lorcas poetry or at least drew on similar usances of frequent kids songs and rhymes (Wood, Tusitala. org. uk, 2007).The structure is repetitious and gets a feeling of stress. The repeat is in addition significant in the nature of the extended abuse, loss of naturalness and suffering Lizzie is subjected to. The abuser alike remains unidentified as it would be in any case uncomfortable for the reader to revive to the suffering the abuser inflicts (Morgan, Classnotes, 2015). In shooting Stars, Duffy keeps the four striving stanzas to create a similar notion of repeating of abuse and much likely to stress the routine and the standard, desensitised, rhythmic executions carried out by Nazi spends.Shooting Stars is written as a offset printing person narrative and similarly to Lizzies abuser, her character is unidentified. This however, is to witness the reader grasps the point that so many an(prenominal) other(a) Jews died namelessly during this period of persecution, bring outing the suffering. Heaney i n Requiem takes a completely dissimilar approach in the structure of the poem and ins tea leafd lays it out in the manikin of a sonnet. This is a mark of remark and love for the Irishmen who suffered and a juxtaposition to the ill respect shown by their oppressors. Written from the third gear person narrative from the perspective of the Irish Rebels.Each business sector has roughly 10 or 11 syllables to it or respectable over, dictating the pace and the solemn, valiant story telling sen cadencent of the poem, an member similar to that of Lizzie. sextet. Lizzie, Six uses black and negative lexis passim to affix the feeling of the suffering inflicted and the dialogue among the characters is sorry. The doubling of the words moonshine, palm, love, wood and dark in lines 2 and 3 of each stanza are offered primarily in the view of the whiteness of a child, i. e. In literature, the moon is ordinarily linked to imagination and fields to that of emancipation etc.Secondly th e words are manipulated by the adult abuser, effectively uncovering the original association of the word and replenishment it with a horrific alternative viewing the intention of emotional abuse. Wood says that Duffy presents a poignant example of upturned sense of hearing, of in this case the adult tender 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 worsen 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 to struggleds 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 rational to corporeal suffering. She shows this in the penultimate stanza when the abuser says Ill give you wood, when your bottoms bare. Wood is a disturbing metaphor and the literal intention the abus er becomes apparent here. The abuser asks in stanza five Where are you hiding? Duffy uses this to allow the reader to mark the abuser demonstrating his menacing intellectual control over Lizzie as she is uneffective to hide from him.In the sixth stanza, the abuser asks Why are you crying? a sensual display of an emotional response. (Morgan, Classnotes, 2015). Duffy shows a similar representation of the emotional and physical realms of suffering in Shooting Stars. I heard the click. Not yet. A gag The Nazi soldier at the time of the chatterers execution uses excessive cruelty and mental torture in toying with his victim and the short convictions at the end of the line create tension and a sense of the real association of the woman and the power wielded by the soldier (MissGrant, 2015).Duffy demonstrates physical anguish in the third stanza at the fear of delight from the Nazis My bowels opened in a ragged yaw of fear. Duffys word choice here is utmost(prenominal) but e mphasizes the sheer terror that a woman would go through in this situation. The gape is representative of a scream mouth (MissGrant, 2015) and is intentionally inversed as gagged rape. The effect it has is it to double the meaning and afterwards 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 necessarily the Irishmen severally but as a whole, collectable to the oppression from the English we moved expeditious and sudden in our own country. Heaney demonstrates the resentment of the Irish in this doom and the priest lay behind ditches with the put Heaney juxtaposes the holiest man with the lowliest man, neither had any reinforcement over the other when it came to slaughter from their oppressors.The prosopopoeia Heaney offers upon the Irish defeat on acetum Hill The Hillside blushed, soaked in our broken wave Provokes the emotional and physical in the form of slight em barrassment at their being ill equipped to discourage the English attack shaking scythes at cannon but also the physicality or their blood staining the usualality of the fields to red. The first and be line include the imagery of barleycorn, 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 detail the very same that enabled the barley to invoke up out of the grave fertilized by the blood of Irish souls. novice capital of Minnesota Hurt says that the first line The pockets of our greatcoats all-inclusive of barley and the last line And in August the barley grew up out of the grave are contrived. They belong to the institution of self-consciously significant details which are routine in many war films, in films of all kinds (capital of Minnesota Hurt, 2015).But Critic Blake Morrison said that Seamus Heaney is that rare thing, a poet rated passing by critics and academics yet popular with the putting surface reader and as a prevalent reader, Im rather given to appreciate the majestic quality and symbolic representation of the re-birth of an army ready to fight and again. exclusively three poems have a familiar brag with the take for noiseed sadness and ill intervention and respect imposed from their oppressors with mass and modify graves 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 nett statement Ill give you the dark and I do not care. The reprobate and grammar structure in Lizzie, Six, is rigid and unchanging. The first line of each stanza is a question from the abuser, the southward a response from the abused and in the third and fourth lies a devilish 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 unforgiving and puni tive than the world of Lizzie, Six, is as isolating and disquieting. (B Wood, 2006) Possibly Duffy used this sentence structure to punctuate the unrelenting suffering in the emotional, and physical that Lizzie faces. In Shooting Stars, Duffy takes an alternative approach and to represent the last thoughts of a dying woman offers a certain level of enjambment within the text. The punctuation is free in that Rebecca Rachel pity Aaron Emmanuel David are listed without breath to exaggerate the uttermost 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 toy with the suffering of an entire travel rapidly and to relate this lessons of history to modern day stru ggles. Duffy uses anaphora in the fifth stanza to reiterate this theme. subsequently immense suffering someone takes tea on the lawn.After the terrible moans a boy washes his uniform. After the history lesson children leech to their toys. Tea on the lawn refers to how normal bearing can resume so apace after horrific events have taken place and can be forget as easily as a boy washes his uniform symbolic of the purging of the Jewish race (MissGrant, 2015). Heaney uses enjambment to slow the pace. It is used to represent the Irish Rebels travel of movement A people, hardly marching on the hike-, common folk, pacing themselves and come up a hill, probably wounded, weary and hungry.enjambement is used where the sonnet identifys form and introducing their death 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 mag nificent tone to their sacrifice. In a similar sub-theme to Shooting Stars, recollection is also a theme in Requiem, highlighted throughout the poem by Heaneys word choice. Sound, sight, touch and wizardry feature regularly in Shooting stars to call forth emotion.Straight away we are greeted with tranquilize from the Dead Jew After I no longer speak a tradition of remembrance. We have a glimpse into her emotional state that she was married, Duffy displays this with the wedding ring, the dear that caused the sensation of urine trickling down her legs a physical display of an emotional response. And the brutal and pachydermatous touch of the soldiers to salvage what they see as the only valuable part of her when they break her finger to retrieve 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 th e Jewish prisoner. Assonance and rhyming are used continuously through Requiem to promote the feeling of a energise struggle. kitchens and stricking, sudden and country in the go-ahead lines. camp, tramp, hike and freeway are rhymes used every other line. Heaney does this to re-inforce the military tone of the poem, introducing a potent 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 importance 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 heighten the exhaustive list of those who suffered.In Lizzie, Six, Duffy uses consonance rather than assonance and alliteration, clos ely implied to Anaphora to accentuate the anxious disposition of the reader What, Where, What, Where, Why at the beginning of each stanza and consonance in Im afraid of the dark. Ill give you the dark and I do not care similar to the techniques used in Shooting Stars in the first line uses consonance and an imperfect pararhyme speak and break in the first line. an on the whole three poems have a common theme of rhyme, but the intention is distinguishable.Lizzie, Six and Requiem show tail rhyme and holorime both in an effort to make the poem unforgettable, 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, winning 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 s uffering 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 land 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 competitive and simple to aid the remembrance of the those who suffered in Requiem for the Croppies.ReferencesGardiner, M. (2015). Summaries of s elected poetry by Seamus Heaney (Higher tutor Certificate 1998). online Files. puzzling. org. Available 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=http%3A%2F%2Fmissgrantenglish. wikispaces. com%2Ffile%2Fview%2FRevision%2BPack. docx Accessed 18 Nov. 2015. Hurt, P. (2015). Paul Hurt on Seamus Heaneys The Grauballe homophile and other poems. online Linkagenet. com. Available at http//www. linkagenet. com/reviews/heaneypoemcriticism. htm wail Accessed 18 Nov. 2015. McMahon, D. (2013).A quick interpret 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.