COMPREHENSIVE SUMMARY
Gr12 English Poetry – FAL
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Sonnet 130 – William Shakespeare
We wear the mask – Paul Lawrence Dunbar
The English are so nice! – D H Lawerence
African poem – Augustinho Neto
Eating poetry – Mark Strand
The hug – Thom Gunn
The man – Seitlhamo Motsapi
Home – Merle Collins
From the air – Michael Cope
The ride – Joyce Chigiya
Compiled by: Madeleine Greeff
Date: 6 September 2021
Sources:
Impaq ENG FAL Study Guide: Literature
Impaq Online Class material
Poems from all over, Oxford, R. Kozain
LitCharts
Blitz English, A Jones, S Maartens
Images: Google
Email: lilaclolacraft@gmail.com
REMEMBER:
There is never a fixed way of seeing anything and all arguments are valid
if they are logically supported by the words from the poem.
IMPORTANT:
REMEMBER:
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Reasons for the use of punctuation marks:
o A line/stanza/poem is completed.
o A pause- (comma, full-stop, colon, dash, etc.) can emphasize a
word.
o Ellipsis (…) indicates a change of thought in the line OR an
interruption is indicated.
Poetry consists of carefully chosen words that ring bells in the reader's mind.
Words can have multiple meanings and can mean different things to different people.
It is important to look at the words used and the different uses of the words.
Every word in a poem is important, incl. the articles 'the' and 'a'.
The position of the words on a line and the length of the line itself and its position can also help with the poet's meaning.
The tenses of the verbs also give us clues to emotions and meaning.
One of the most useful tools for analysing poetry is to understand denotation and connotation.
➢ Denotation: the exact and precise meaning of the word. Example: cat as defined by the dictionary means carnivorous mammal, domesticated for use as a rat catcher and pet.
➢ Connotation: is every feeling and thought you think when you hear the word. Example: cat – Fluffy, predator, sharp teeth, Tom and Jerry, curled up next to the fire, spitting angrily.
ANSWERING QUESTIONS: →ALWAYS SUPPORT YOUR ANSWERS WITH PROOF FROM THE POEM!
• Remember SEE
S → Make a STATEMENT
E → EXPLAIN the statement
E → give an EXAMPLE from the text
Most questions ask how a poet achieve a certain outcome in a poem. A poet has only four tools to create any desired effect.
THE POET'S TOOLS: Remember DIPS
✓ Diction → the words chosen by the poet.
✓ Imagery → metaphor, simile, personification → the word pictures created by words.
✓ Punctuation → its effect on the meaning.
✓ Sound → alliteration, assonance, onomatopoeia → the effect of the sound of words on the meaning.
An easy way to approach poetry is to ask two different questions of a poem:
❑ What does it say? (Content)
❑ How does it say it? (Form)
SPEAKER/PERSONA:
How are important aspects in a
poem emphasised?
o Isolation
o Placement: at beginning or end
of a line
o Inversion → change of word
order
o Repetition → of word or phrases
o Refrain → chorus
o Cursives → italic
o CAPITAL LETTERS
o Positioning
o Enjambment
o Metre → loud or soft sounds
o Parenthesis
The use of punctuation marks
o Ellipsis (…) the thought continues /
interruption
o Dash (-) focuses reader's attention on what
follows
o Hyphen (-) join words
o Exclamation mark (!) emphasises what is
important
o Comma (,) slows the tempo / emphasises
o Colon (:) indicates explanation follows
o Brackets () to add extra information
o Question mark (?) asks a question or
rhetorical question
o Semi-colon (;) separates ideas / indicates
longer pause
• Do not assume that the voice speaking in the poem is that of the poet. It might be the sentiment of the poet in the poem, but he/she has created a persona who does the talking.
WHEN YOU STUDY POETRY → PAY ATTENTION TO THE FOLLOWING:
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When studying, reason and reflect rather than just trying to remember the facts. If you understand what you are studying, it will be easier to remember. As easy as pie! → PUN?
Know your poetry terms at the tips of your fingers and what it does in a poem. It will then be easier to recognise while analysing/studying/reading a poem. As easy as pie! → REPETITION?
TITLE → analyse the title. You must clearly distinguish what the title means and be able to say whether you think it is a suitable title for the poem.
THEMES → look for major themes in the poem like human experience, motivation or conditions etc.
FIGURE OF SPEECH → look for personification, metaphors and similes and make sure you can indicate the comparisons that are being made.
POETIC TECHNIQUES → identify the poetic techniques the poet has used, such as the rhyme scheme, enjambment, repetition, rhetorical question, turning point, tempo, isolation etc.
STYLISTIC DEVICES → Irony, suggestion, pun, sarcasm, satire, climax, contrast (antithesis), onomatopoeia, hyperbole, oxymoron, euphemism, humour, symbolism, elision.
STRUCTURE → Typography: does the poem's structure make sense? Are the lines long or short? How is punctuation used and what effect does it have? Are there examples of elision or change in word order.
TYPE → in what form is the poem written? If it is in the form of a sonnet, you must be able to say what type of sonnet it is and the extent which it adheres to the characteristics of that sonnet.
LANGUAGE → you must know what every word in the poem means in the context it is used. If archaic words like 'thee' and 'ne'er' are used, you should be able to give their meaning.
IMAGERY → look out for imagery in the poem. Anything that can be drawn as picture count as imagery.
TONE → what is the tone in the poem? Is it romantic, dark, melancholic, or perhaps reflective?
WHAT IS THIS POEM ABOUT? Shakespeare gives a description
of his mistress which CONTRADICTS the traditional idea of
beauty. He describes all her features, eyes, hair, breath, which
are usually praised by poets in romantic ways. His description is
a direct CONTRAST to the accepted ideas of beauty. He ends
the SONNET with a RHYMING COUPLET which summarises his
examples and closes the discussion by saying that although his
mistress is very ordinary, his love for her is beyond the love of
romantic ideas → it is real.
TITLE: Shakespeare written a total of a 154 sonnets (published).
Sonnets are so short that they are practically a title unto
themselves. Further, they're in a very rigorous form; adding
more words to them would throw off the balance of the form.
THEME: Shakespeare is making fun of people's obsession with
looks. People cannot possibly live up to a false expectation of
perfect beauty. People should love one another for who they
are, not for the way they look. SPEAKER: anonymous lover.
FORM/STRUCTURE: a LYRIC poem is written as a 'word song'
and is in praise of someone or something.
A Shakespearean sonnet consists of 14 LINES, RHYME SCHEME
of abab cdcd efef gg, 3 QUATRAINS and a RHYMING COUPLET,
10 SYLLABLES per line, RHYTHM PATTERN of IAMBIC
PENTAMETER (5 sets of alternating stressed & unstressed
syllable), or ELEVATED LANGUAGE about love. The TURN is after
8 lines which sums things up.
Sonnet 130 by William Shakespeare (1564-1616)
An unconventional love poem about the "Dark Lady"
1 My mistress' eyes are nothing like the sun;
2 Coral is far more red than her lips' red;
a
SIMILE
b
3 If snow be white, why then her breasts are dun; a
4 If hairs be wires, black wires grow on her head. b
5 I have seen roses damasked, red and white,
6 But no such roses see I in her cheeks;
METAPHOR
L 4, L 6, L 10
7 And in some perfumes is there more delight
TURN
8 Than in the breath that from my mistress reeks.
9 I love to hear her speak, yet well I know
10 That music hath a far more pleasing sound;
11 I grant I never saw a goddess go;
ALLITERATION
12 My mistress, when she walks, treads on the ground.
13 And yet, by heaven, I think my love as rare
g
14 As any she belied with false compare.
g
ENJAMBMENT
L 5, L 7, L 9, L 13
COMPARISONS: the poem is made up of a serious of negative comparisons: 1st QUATRAIN: sun-eyes, coral-lips, snow-breasts, wirehair. 2nd QUATRAIN: roses-cheeks, perfume-breath. 3rd QUATRAIN: music-voice, goddess-walking.
NEGATIVE COMPARISON: my mistress' eyes are not like the sun, her breath is not like perfume VS TRADITIONAL ROMANTIC
IMAGES: my mistress' eyes are like the sun, her breath is like sweet perfume. The negative comparisons introduce reality against
these traditional romantic 'false comparisons'. The mistress, in other words, is normal, ordinary human being, not, for example, a
goddess. The speaker here clearly wants to make a point: these things are not real, they are just romantic images. Yet, while his
mistress does not measure up to these things, his love for her is still rare/precious/true. Or, rather, his mistress is a real, ordinary
person and his love for her measures up to any of the other mistresses who are (falsely) compared to goddesses.
LINES 11 – 12: There are no romantic notions of his mistress floating on air like a goddess. 'treads' She is very ordinary and
grounded. The ALLITERATION of the hard 'g'-sound in these two lines MIMIC the sound of footsteps. The unstressed/stressed
sound of the IAMBIC PENTAMETER also SUGGESTS footsteps.
LINES 13 – 14: The speaker summarises his argument in the RHYMING COUPLET. He has placed his examples before the reader
and has not lied about the beauty of this women by using false comparisons. His love is 'rare'. It is special because he loves a
completely human women, who is not an ideal or a goddess.
ANALYSIS:
LINE 1: Many sonnets compare a women's eyes to the sun. The line is divided by the
word 'nothing'. Reading the 1st line, you expect a comparison that is filled with with
hyperbole to show how much the speaker loves her eyes but the word 'nothing'
disrupts that idea. The truth is that eyes, no matter how they shine, never shines like
the sun. The sun is fiercely hot, can burn, and although the world needs sunlight this
CLICHÉD COMPARISON is not a good one. What if the woman has dark eyes?
LINE 2: The word 'coral' at the beginning of the line leads the reader to picture 'coral'
and see the colour in our minds. Lips are never the colour of coral, and if the woman's
lips are red it is because they are painted. His mistress is human and unpainted.
LINES 3 – 4: In Shakespeare's time, the ideal woman was white, slender, blond-haired,
red-lipped, bright-eyed, and had silky smooth white skin. Not so the woman of
'Sonnet 130. Her breasts are a dull grey-brown colour. And she has dark hair that
stand out like wires. Imagine comparing your lover's hair to stands of thin metal.
Shakespeare begins these lines with the word 'If' which shows he questions all this.
Do we really believe in the existence of a person with skin as white as snow? Most
people do not have snow-white skin and this woman is no exception. 'Dun' is a light
tan shade. The convention was to describe hair as golden threads or waves.
However, Shakespeare's mistress' hair is perhaps black, thick and curly. Does that
mean she is not worthy of a sonnet in her honour? Note that both lines are divided by
COMMAS which balance the first half of the sentence with the second to show
CONTRAST. The 1st quatrain has completed a PICTURE of the speaker's mistress in the
negative.
LINES 5 – 6: The IMAGE of a rose is a traditional way to praise a lover. Damask roses
are a velvety pink or light red colour and the speaker has seen all shades of white and
red roses, but none of them describe accurately the colour of his mistress' cheeks.
Note the strong use of the negative 'no'. The speaker is MOCKING traditional
romantic poetry.
LINES 7 – 8: Only some perfumes are pleasant to the speaker and those are better
than his mistress' breath. All humans can smell unpleasant at times and we cannot
romanticise that. However, it does not make him love his mistress less. The word
'reeks' does not only mean 'smell bad' but can also mean 'permeates' (spread
throughout). The speaker is not praising with hyperbole the human being he knows
and loves.
LINES 9 – 10: Perhaps music is 'far more pleasing', but the speaker is careful to say he
loves to hear the women speak. The word 'more' is a DEGREE OF COMPARISON. He is
pleased by her voice and it is musical, but music is far more so. 'well I know' shows he
is aware and able of making honest comparisons and does not fill the poem with
clichés. METAPHOR: Whereas most sonnets use elevated language to praise an ideal
women, Shakespeare writes that although music is easier to listen to, he does
sincerely 'love' to hear his mistress speak.
WHY SAY THIS IN SONNET FORM? A sonnet is often a form in which love is declared in elevated language.
Shakespeare's use of sonnet thus filled with IRONY:
• He is clearly capable of its elevated language;
• But he uses the elevated language to criticise its use, its 'false compare'.
• But then, he is still using this elevated language to declare his mistress' ordinariness… (in a way …?)
• 'my love is as rare' → but these romantic images were widely used in sonnets; thus my love is as
'common'/'ordinary' as the use of these romantic images?
• Let me try again… his mistress is real, ordinary; his love is as normal as the use of these elevated images
is to declare love? A lot of different meaning and ironies!
A discussion of the poet's comments on the sincerity of love with reference to the conventions of
a sonnet.
• Traditional sonnets are cliched and insincere. cliché → overused phrase or opinion and betrays lack
of original thought.
• Comparisons of women being goddesses are no longer grounded and appropriate.
• Having a mistress who you can interact with and appreciate is better than having an idealised or
unrequited love.
• A lover should be someone who you accept as they are; they do not need false praise and tributes.
• A true relationship will allow for criticism and plain-talking; it will not need romantic images and careful
declarations all the time.
• Conceits and images that over-praise a woman's qualities are inappropriate and too widely used.
• Humour and rhyme can still be used to declare love, and this approach is probably more normal and
real.
• In a sonnet one would expect comparisons to be heavenly and praiseworthy, rather than basic and
simple, i.e. 'wires', 'snow', 'reeks' etc.
• Iambic pentameter allows the syllables and ideas to build in a fun and consistent way, which makes key
ideas stand out for the reader.
• The sonnet form can mimic itself and still be sincere if the build-up of ideas through the 3 quatrains is
well established.
• The rhyming couplet at the end must always summarise the main ideas and end the sonnet with a
sincere and precise statement about love.
QUESTION & ANSWERS:
1. Name two things to which the speaker compares his mistress. The mistress is compared to
(any two) the sun, coral, snow, wires, golden thread, roses, perfumes, music, or a goddess.
2. Outline two features of a Shakespearean sonnet that you can identify. A Shakespearean
sonnet consists of (any two) 14 lines, rhyme scheme of abab cdcd efef gg, 3 quatrains and a
rhyming couplet, 10 syllables per line, rhythm pattern of iambic pentameter (unstressed
followed by stressed syllable), or elevated language about love.
3. How does the metaphor of music in stanza 3 impact on your understanding of the poem?
Whereas most sonnets use elevated language to praise an ideal women, Shakespeare writes
that although music is easier to listen to, he does sincerely 'love' to hear his mistress speak.
4. Explain what the speaker means when saying his mistress 'treads on the ground'? The
object of affection for the speaker is not an elevated goddess or angel who floats or glides
above the ground, she is a more grounded and physical person who walks with him on earth
and has her feet on the ground.
5. Discuss whether you think the speaker's love is sincere. The love expressed in this sonnet is
very sincere and is not false. Although the speaker seems unflattering and critical, he
maintains that his love is 'rare' as he is able to interact with and share his life with his
mistress.
6. In the 1st quatrain, which physical aspects of his mistress are referred to? Her eyes, lips,
breasts, and hair are referred to.
7. Quote and explain how Shakespeare continues his argument in the 2nd quatrain. He
continues his argument by referring to her cheeks, breath and voice. 'But no such roses see I
in her cheeks.' her cheeks are not like red and white roses silkily embossed onto damask. 'in
some perfumes is there more delight' Shakespeare shows how it is ludicrous to compare
human breath to perfume. And equally ludicrous to compare the human voice to music:
'music has a far more pleasing sound'.
8. In line 9, the speaker says: 'I love to hear her speak'. How does the tone change in this line?
Until this point, all the statements about the mistress have been negative. Now, he mentions
what he loves about her which suggests the poem is going to move towards something
positive. He loves her as she is.
9. Refer to line 12. how does the word 'tread' add to the idea that his mistress is ordinary?
'Tread' is a very accurate description of the heaviness of the average person's walk, rather
than some romantic description of her floating along, which would be completely unrealistic.
10. If you had received this poem from someone you loved, how would you feel? Explain your
answer by referring to the text.
11. This is an open-ended question, it will be evaluated on the sincerity of your answer and the
reference made to the ideas in the poem.
WHAT IS THE POEM ABOUT? It tells us of the experience of
being black in America following the Civil War. It tells of the
experience of hiding true feelings behind a mask of happiness,
pretending all was well when life was hard, grinding experience.
The REPETITION of the TITLE 'We wear the mask' in line 1, line
9 and line 15 helps to create and build a rhythm in the poem.
FORM/STRUCTURE OF POEM: THREE STANZA poem, with 15
lines → 13 lines of eight syllables and two REFRAINS of four
syllables & is written in IAMBIC TETRAMETER (has four feet of a
light then heavily stressed syllable.).
Because of the poem's FORM & RHYTHMIC, REPETITIVE quality,
it is considered a RONDEAU → a VERSE FORM typical of
MEDIEVAL & RENAISSANCE FRENCH poetry. REPETITION
creates and builds rhythm.
RHYME SCHEME: aabba aabR is typical of the rondeau form.
The poem's MUSICAL NATURE & rhyme scheme are perhaps
meant to reflect the tradition of slave songs in the USA, in
which slaves recounted their struggles in musical form.
The last line is a REFRAIN → the repetition of a line or group of
lines throughout the poem. A refrain is worth repeating as it
adds to the THEME of the poem. In this poem, the line 'we wear
the mask' is the repeated refrain.
The SAD THEME of the poem makes it a LAMENT that has a
strong connection to the BLUES GENRE of MUSIC originating
among African Americans. Blues originated in SLAVE and
FREEDOM SONGS, so the THEME and FORM of poetry unite to
deliver a STRONG MESSAGE. STRUCTURE: 1st stanza → the
RHYMING COUPLET at the end of the first and second lines
builds a musical or lyrical quality at the beginning of the poem.
Also referred to as the PERFECT RHYME.
2nd
We wear the mask
by Paul Laurence Dunbar (1872-1906, USA)
REPEAT OF TITLE IN 1st LINE INTRODUCES
THE EXTENDED METAPHOR
1 We wear the mask that grins and lies,
2 It hides our cheeks and shades our eyes,—
3 This debt we pay to human guile;
4 With torn and bleeding hearts we smile,
5 And mouth with myriad subtleties.
RHETORICAL QUESTION + IRONY
6 Why should the world be over-wise,
7 In counting all our tears and sighs?
8 Nay, let them only see us, while
9
We wear the mask.
L 8, L 10, L 12
ENJAMBMENT
10 We smile, but, O great Christ, our cries
11 To thee from tortured souls arise.
12 We sing, but oh the clay is vile
13 Beneath our feet, and long the mile;
14 But let the world dream otherwise,
15
We wear the mask!
Lines 12 – 13: A
CONTRAST with a COMPARISON between the 'singing' 'we' participate in & the ground on which
'we' stand. Singing can only go on for so long in a world built on a 'vile' structure. In the final lines, he explains the 'vile
' 'clay' stretches on far 'Beneath our feet'. It lasts for miles on end. Again, the line is divided into a joyful seeming
beginning, then the word 'but' & the sigh of 'oh' & the hard clay earth, all of which are in opposition to the joyful
beginning. 'Vile' means foul, nasty, & bad. The feet of the victims are possibly bare and walk with difficulty on this
hard clay surface. 'And long the mile' could refer to the journeys of their lives which are hard, bitter & torture with no
end in sight. LINES 14 – 15: These lines instruct the mask wearers to not give way to their agony. The world little
dreams what is under the mask. Quite often we say, 'you must be dreaming', suggesting your ideas are false & untrue
as the worlds' are here. To reinforce strongly this false 'dream', the speaker repeats once again the REFRAIN. He
concludes by using another SARCASTIC STATEMENT. It is quite impactful at this point as no one should be willing to
'dream' through the pain experienced by others. CONCLUSION: The poem uses the mask to, not surprisingly,
SYMBOLIZE deception. The mask is used FIGURATIVELY in the poem. The poem also have one SLANT RHYME with the
word 'subtleties', an important moment as it contributes to the poem's exploration of deception.
ANALYSIS: Take note on how the musical quality of the RONDEAU form of this poem creates a light and
cheerful rhythm which is a DIRECT CONTRAST to the images of pain in the poem. THE LIGHT FORM OF
THE POEM IS A MASK FOR THE SERIOUSNESS OF THE ISSUES IT DISCUSSES. Perhaps the speaker is
highlighting that African Americans are perceived as childish. LINES 1 – 2: On first reading this line, 'we'
could refer to anyone. The poet uses the word 'we' to allow the reader to include themselves in the text.
All people are among those who 'wear mask(s)'. But the 'we' are aimed more towards black Americans. L
1: 'grins and lies' – a face for any particular situation. Lies, for when one have to pretend, & grins for
getting by in uncomfortable situations. REFERENCE to PANTOMIMES – circus where clowns wear huge
grins painted on their faces & make fools of themselves. The mask hides the shame or embarrassment &
eyes which cannot hide true feelings. Eyes are often called 'the windows of the soul'. RHYME SCHEME of
the words 'lies', 'eyes', and 'smile' at the end of the lines are for EMPHASIS. All the stanzas have words
which rhyme or half-rhyme with the words 'smiles' & 'lies'. LINES 3 – 5: 'guile' (deceit) – there is no truth
in the eyes of the smilers. These masks hide someone's real 'cheeks and … eyes'. 'human guile' – refers to
general deceitfulness, an overwhelming human trait, it's nearly impossible to get through modern life
completely one's self. In lines 4 & 5 the speaker begins to more plainly state their feelings and to
demonstrate how they specifically use this METAPHORICAL MASK. ASSONANCE 'i'-sound with the
ALLITERATION of the 'w'-sound creates a wailing sound. The reason for this cry is the 'torn and bleeding
hearts'. We understand now 'we' means the injured African Americans of the Civil War or all people who
have been wronged. The smile and mouth speak the things they think people want to hear. The mask is
expanded from one's face to their heart in the last two lines. It is also one's own emotional or moral
state that changes from situation to situation. It causes hearts to bleed and tear. One's mouth contains a
smile but also a 'myriad' (great variety) of, 'subtleties' (clever & indirect methods). In line 5 'myriad
subtleties' imply that the speaker engages with others in a way that is heavily coded & hard to pick up on
without a keen ear. This is reflected in the ALLITERATION of the 'm'-sound. LINES 6 – 7: The 2nd stanza is
a QUATRAIN. The speaker starts by asking a RHETORICAL QUESTION. He does not expect an answer,
although this is a very serious question, he finds something IRONIC about it →it does not take much skill
to take in the 'tears and sighs' of the world. The poet is most likely referring to the struggle to achieve
equal rights, overcome segregation and racial violence. Rather than the world taking a bid of time to
consider the truth behind the mask, they 'only see' the surface. The word 'counting' EMPHASISES this →
the troubles of the world are too many to count. It becomes a strain on those who do not have to deal
with them in their everyday lives. The world around these people are insensitive to their pain. They are
not wise enough to read pass the mask of cheer and happiness. If the people spoke about their genuine
feelings, they would be tortured or lynched. LINES 8 – 9: The speaker answers his own rhetorical
question. He starts with the old fashioned negative 'nay' which has a strong EMPHASIS because it is a
drawn-out sound. The world does not see the person behind the mask. Most people in an unjust society
do not see the victim's story, so for their safety, their feelings should never be expressed. In the final line
of the quatrain, the speaker brings back the title of the poem. The REFRAIN, is used as a REMINDER that
not only are the troubles of the world obscured, they are purposefully hidden, to some extent. LINES 10 –
11: It begins with the speaker increasing the already dark nature of the poem. He explains how 'We smile'
not matter what , the 'cries' come out from 'tortured souls'. They 'arise' from behind the mask & into the
real world. The speaker begins the line with a false smile, then uses COMMAS and 'but' to CONTRAST
with the word 'cries' at the end of the line. Christ should be the rescuer of the tortured souls, but this is a
cry of anguish directly addressed to Christ the saviour. Christ was tortured & crucified for preaching the
truth - 'tortured souls' reflets the pain of wearing a mask & not being able to be true to oneself.
A discussion on the contradiction between tone and theme (borne out of imagery and
form) and how this contributes to the effectiveness of the poem: NB!!
• The poem addresses the CONCEALED PAIN and SUFFERING of those who have been DISEMPOWERED
and are living in a society where DISCRIMINATION exists.
• The disempowered often need to conceal EMOTIONS such as pain, anger and frustration to ensure
their safety.
• The poem is a RONDEAU which is a very REGULAR and STRUCTURED FORM of poetry – there is a clear
RHYME SCHEME using COUPLETS to add PACE.
• The METRE is mostly IAMBIC TETRAMETER and it includes a REPETITION of 'We wear the mask' as a
REFRAIN.
• This REGULAR PATTERN mirrors the way that PREJUDICE and SUFFERING can be a regular part of life
within societies where INEQUALITY and 'bleeding hearts' exist.
• The poem also has a MUSICAL QUALITY and RHYTHM that seems disjointed with the lives of 'tears and
sighs' of the OPPRESSED.
• The use of the METAPHOR of a 'mask' implies a colourful and creative veil to hide the ANGER and
SUFFERING felt within.
• The SAD THEME of the poem makes it a LAMENT that has a STRONG CONNECTION to the BLUES GENRE
of MUSIC originating among African Americans.
• Blues originated in SLAVE and FREEDOM SONGS such as 'We sing, but oh the clay is vile', so the
THEME and FORM of poetry UNITE to deliver a STRONG MESSAGE.
QUESTION & ANSWERS:
1. Name two things that the mask hides. The mask hides our expressions or 'cheeks' and our
thoughts or 'eyes'.
2. Quote two words from line 10 that clearly contradict each other. The words 'smile' and 'cries'
contradict each other.
3. How does the image of 'torn and bleeding hearts' impact on your understanding of what the
mask is concealing? The mask can conceal outwardly the pain that people feel inside; some of
which is deep-rooted, inflicted by a history of oppression.
4. What is the speaker's motivation for wearing a mask? The speaker refuses to reveal his anger
and pain, fearing that he may be punished or subjected to further abuse.
5. Do you empathise with the speaker of the poem? What action would you take if you found
yourself living under similar circumstances? Answers will vary. i.e. Most people would probably
empathise with the speaker's pain and acknowledge that it would be difficult to show one's
feelings if it were dangerous to do so.
6. Explain what the poem is about in once sentence. The poem shows how those who have been
disempowered by slavery and oppression, conceal emotions of pain and frustration by putting on
a happy face.
7. Does the use of the first person 'we' throughout the poem add to your experience of the poem?
Explain your answer. The reader can identify with the pain of the oppressed by being included in
the experience as 'we'.
8. What is the effect of 'grins' and 'lies' juxtaposed in the first line? This highlights the dishonesty
and falseness of having to put on a happy face when there is suffering beneath.
9. Look up the meaning of the word 'myriad'. What do you understand by 'myriad subtleties'?
'Myriad' means countless numbers. The oppressed are subjected to many subtle insults so they
must have many ways of reacting to hide their humiliation.
10. Does 'we wear a mask' provide a powerful conclusion to the poem? Explain your thoughts. It is
the refrain repeated throughout the poem, so its repetition at the end draws the whole poem
together. It stands on a line on its own and is like a defiant statement that allows no argument
against it . It also feels like the speaker is resigned to the fact that they will always have to wear
the mask.
11. Do you think the poem is relevant to South African students? Why is this so? This is an openended question. Any well-argued response is acceptable. It must refer to the poem.
WHAT IS THE POEM ABOUT? This is a short, amusing poem
in which the poet Lawrence uses SATIRE to criticise both the
quintessential (prototypical) English term 'nice', while also
making a comment about the nation's sense of superiority
over those from other countries. By using IRONY & SARCASM,
Lawrence MOCKS and shows his contempt for the English and
their attitude to foreigners and 'others' who do not think the
way they do or speak English. They have a superior attitude
and look down on difference. He mocks them and use the
meaningless word 'nice' to do so. TITLE: 'Nice' is a word that
has no precise meaning and is used to describe anything that
is seen as positive. It is generally regarded as a lazy word. The
title SETS UP the IRONY used in the poem to mock the English
who are IRONICALLY described as 'nice' when they are
arrogant and generally superior in attitude to other.
FORM/STRUCTURE: the poem is written as a MONOLOGUE
that mocks post-Victorian snugness or pride. The lack of any
RHYME shows the spoken word. The word 'nice' is bland and
ambiguous. The poet creates a negative impression through
his use of this vagueness. The SIMPLE CONVERSATIONAL
register that addresses the reader directly and the
REPETITION of certain words and phrases allow the speaker
to use the language of the English to MOCK them. There is an
overall IRONIC TONE to this poem. SPEAKER: here we have a
speaker mocking the arrogance and pride of the English. This
is not necessarily the voice of Lawrence, although it might be
his sentiments in the poem. He has created a PERSONA who
does the talking.
The English are so nice!
By David Herbert Lawrence (1932)
1 The English are so nice
OXYMORON
2 so awfully nice
3 they are the nicest people in the world.
HYPERBOLE
4 And what's more, they're very nice about being nice
5 about your being nice as well!
6 If you're not nice they soon make you feel it.
7
8
9
10
Americans and French and Germans and so on
RHETORICAL
QUESTION
they're all very well
ITALIC
but they're not really nice, you know.
They're not nice in our sense of the word, are they now?
11
12
13
14
15
16
17
18
19
20
21
22
That's why one doesn't have to take them seriously.
We must be nice to them, of course,
of course, naturally.
But it doesn't really matter what you say to them,
they don't really understand
you can just say anything to them:
be nice, you know, just nice
but you must never take them seriously, they wouldn't understand,
just be nice, you know! Oh, fairly nice,
not too nice of course, they take advantage
but nice enough, just nice enough
to let them feel they're not quite as nice as they might be.
LINES 11 – 20: These lines are RAMBLING and we get the sense the speaker is talking to himself. Here, we see that the English do not
easily learn another language to make themselves approachable and pleasant to a foreigner. They expect everyone else to learn
English. The words 'you must never take them seriously' INDICATES the British attitude towards foreigners and that they regard them
as not important. One can say what one likes and does not have to be careful of offending because they have no sensitivity as they are
not English, 'they wouldn't understand'. One can be 'fairly nice' but not too nice or the foreigners might think they could become
friendly and 'take advantage' and that would not be 'nice' for the English. LINES 21 – 22: The last two lines are the final
reinforcement of the effect the arrogance of the English has on those they meet. In their condescending 'nice' way the English let others
'feel they are not as nice as they might be'. The attitude that one must be superior to others and show them what English 'niceness' is,
comes through clearly. CONCLUSION: Throughout the poem, the speaker has been SARCASTIC and IRONIC in making their point that the
English are not 'nice', but, in fact, arrogant towards anyone who is not one of them. His MOCKING TONE shows up those who are so
limited in their understanding and sensitivity to other yet have a huge sense of their own superiority. This VERBAL ATTACK ends in a
complete CONTRADICTORY STATEMENT that you can be 'nice' but only to the point of leaving the person still feeling inferior.
ANALYSIS: the poem makes a mockery of those who think they are superior to
other. It focusses on the English, this type of condescending attitude exists in
any society where there are differences in class & economic status. Think
about how condescension works in our society. It also makes a mockery of how
language is used loosely so it has no specific meaning. Think about words you
use regularly, like 'awesome' and realise how little it explains. They will admit to
describing anything form a fashionable outfit, to a party, to a highly respected
person as 'awesome'.
LINES 1 – 3: The word 'nice' is REPEATED three times. 1st line → often heard
and meaningless. 2nd line → REPETITION of 'nice' diminishes the value of the
word – could mean something else. 3rd line → "nicest people in the world" is a
HYPERBOLE because it is an absurd exaggeration. Remember it is a SATIRE and
the TONE of the speaker is MOCKING. Try to 'hear' the mocking voice in your
mind – then the MEANING of the poem becomes clearer.
LINES 4 – 6: These 3 lines are full of CLICHÉ with 'nice' REPEATED in each line.
4th line → 'And what's more' is another phrase people use without thinking
what the words mean. 'they're very nice about being nice' is HUMOROUS and
shows HYPOCRISY. Their 'niceness' is a badge of honour, they pride
themselves on how magnanimous they are. 5th/6th line: However, if you are
not nice then they will 'make you feel it' – they will make sure you feel
unwelcome and force you into their idea of what it is to be nice. The overuse of
'nice' creates IRONY.
LINES 7 – 10: The speaker lists different nationalities to REVEAL the
PREJUDICES the the English. Perhaps the Americans are named first because
they ae slightly better than the others as they speak English and used to be a
British colony. 7th line → The REPETITION of 'and' adds to the effect of the
number of nations that are not English. 'and so on' - there is such contempt for
people who are not English they do not even deserve to be mentioned. 8th line
→ 'They're all very well' is a typical British statement and so very
condescending. If something is 'all very well', it is fairly useful or good in some
situations but not excellent and not useful nor good in every situation. It
SUGGESTS they are not worth thinking about. 'But' is placed at the beginning
of the line, to show the speaker means 'not really nice' actually means 'not up
to our standards of what is nice'. The 10th line SUMS UP the the English
attitude towards foreigners. The intolerance of difference expressed in these
lines builds to the statement of 'they' (others) are not nice. The ITALICS used
for 'our' SUGGESTS that the English have exclusive rights to being 'nice'. Note
at this point the speaker askes a question of his listener and then without
waiting for an answer carries on. The use of a RHETORICAL QUESTION is
intended to MANIPULATE the reader or listener into agreeing with the
speaker.
A DISCUSSION ON HOW THE SPEAKER USES DICTION TO CREATE SATIRE AND IRONY IN
THE POEM:
• SATIRE is the deliberate mocking of a particular group of people, and organisation or political
party. In this case, the speaker chooses to satirise the English nation by looking specifically at the
language of communication – English.
• The REPETITION of 'nice' throughout the poem EMPHASISES the inadequacy of this word as an
ADJECTIVE and this hints at the inadequacies of the English people. The speaker continues to
use and repeat the word 'nice' despite its limited appeal. This POKES FUN at the English and
thus reinforces the SATIRE.
• This inadequacy is deliberately HIGHLIGHTED in light of the criticism that is aimed at other
nations throughout the poem.
• The REPETITION of 'and' further reinforces the number of nations that are criticised by the
English, exploring how the English treat and view these nations according to their ability to be
'nice'.
• This criticism of other nations is in itself not 'nice' and hints at the IRONY present in the poem.
• The speaker of the poem is rather condescending and patronising towards these other nations,
stating that one should 'never take them seriously, they wouldn't understand' and REPEATS this
in the poem.
• The OXYMORON contained in 'awfully nice' hints at the CONTRADICTION and IRONY evident in
the poem – the nation considered so 'nice' by the speaker, the English, are in fact 'awful' in their
dealing with people of other nations. This MOCKS the English.
• That the speaker CONCLUDES with feeling an obligation to let these other nations know that
'they're not quite as nice as they might be' reinforces the SATIRE and IRONY present throughout
the poem.
QUESTION & ANSWERS:
1. In lines 1 – 3, the word 'nice' is used ironically. Which word do you think the poet would use
instead if he was not aiming for irony? Condescending, polite, superior.
2. Do you find the use of irony amusing here? Explain your answer. Yes, because the repetition of
the word 'nice' highlights the arrogance of the English. This leads to the ridiculous generalisation
that they are the nicest people in the world. You can also respond quite personally saying it
seems humorous because it highlights their experience of the British.
3. 'They are the nicest people in the world'. Do you think it is ever valid to use a generalisation
like this? Explain your answer. There is seldom a place for generalisations when referring to
people because all people are different. Furthermore, every nationality covers a full range of
people from good to bad, so no generalisation like this can be applied.
4. Line 7: 'and so on'. Explain how these words add to your understanding of the English. It is an
arrogant comment as it shows the speaker does not think others are even worth naming. They
are just incidental.
5. Line 13: 'must be nice to them, of course'. What is the speaker suggesting about the British
here? He suggests they consider it important to be kind to those who are inferior. This is a
condescending attitude as no one is as good as the British. The English must always be seen to
be 'nice'.
6. Lines 13 – 20 are described in the analysis as 'rambling'. Do you agree with this assessment?
Explain your answer by referring to the text. It is an accurate assessment. The stanza is long and
rambles in lines of varying lengths, repeating the word 'nice'. The speaker moves backwards and
forwards and does not develop a logical argument of train or thought. The diatribe ends in the
completely contradictory statement that you can be 'nice' but only to the point of leaving the
person still feeling inferior.
7. Name two groups of people with whom the speaker compares the English. (any two from)
Americans, French or Germans.
8. Quote two phrases the speaker uses to distinguish the English form the non-English. 'they're
not really nice' AND 'not nice in our sense of the word'.
9. What does the use of 'us' and 'them' reveal about the speaker's attitude to those who are not
English? By using the pronouns 'us' and 'them', the speaker creates a divide between those who
are like him and those who are not. This makes him /'us' superior to 'them', that is, everyone
who is not part of his group.
10. Explain the effect of the repetition of the word 'nice'. Repetition diminishes the value of the
word (think about how a cliché becomes meaningless), but the repetition could also be hint that
there is more to the word than its initial meaning.
11. Discuss the effectiveness of the poet's use of irony in conveying the speaker's message. Irony
is indirect and therefore might be lost on it intended audience if misunderstood. However, this
poem is dripping heavily in irony and the mockery of English superiority is hard to miss.
WHAT IS THE POEM ABOUT? 'African poem'
provides a description of some of the qualities
and groups of people that make Africa unique &
special. The speaker moves from a distanced
perspective, describing what is seen on the
horizon, to the more intimate setting of a
bedroom. This poem hints at Africa being a
troubled continent. This is the direct outcome of
its colonial past in which traditional life has
been lost & people are caught up in the
superficialities of western culture. This is not a
specifically Angolan situation. TITLE: The poet
uses the word 'African' & not the name of a
specific country, which suggests the ideas
expressed reflect Africa as a whole & not
specifically Angola. MOOD/TONE (L 24 – 26):
profoundly pessimistic. His hopes for his country
'warmed' him, the fires of civil & tribal wars, &
the bad faith of politicians eventually destroyed
his dreams.
FORM/STRUCTURE OF THE POEM: This FREE
FORM poem consists of SIX STANZAS of
DIFFERENT LINE LENGTHS and NUMBERS &
there is no overall RHYTHM or RHYME SCHEME.
The poem is DESCRIPTIVE. The 1st FOUR
STANZAS are a PICTORIAL DESCRIPTION of
Africa, like a series of photos or postcards. The
last 2 STANZAS have a more urgent feel as they
repeat the IMAGES of the 1st stanza but in an
incoherent way. The TONE is fairly matter-offact and objective. The speaker doesn't appear
to pass judgement on what is observed and
described. The reader makes his/her own
judgement and interpretations of both Africa
and the unfolding scene. However, the careful
selection of references to Africa hints at the
speaker's feelings towards Africa and therefore
manipulates the reader's interpretation.
African poem by Augustinho Neto (1964, Angola)
Translated by Gerald Moore
The FUTURE
A SYMBOL OF
AFRICAN
STRENGTH
1
2
3
4
5
There on the horizon
the fire
and the dark silhouettes of the imbondeiro trees
with their arms raised
in the air the green smell of burnt palm trees
6
7
8
On the road
the line of Bailundo porters
groaning under their loads of crueira
L 6 – L 8 'o' 'u'
ONOMATOPOEIA
REPETITION
L 10 'ee'
9
10
11
12
13
14
15
ONOMATOPOEIA
in the room
the sweet sweet-eyed mulatress
retouching her face with rouge and rice-powder
the women under many clothes moving her hips
on the bed
the sleepless man thinking
of buying knives and forks to eat with at a table
16
17
18
19
20
On the sky the reflections
COMPARISON to 'trees'
of the fire
and the silhouette of the blacks at the drums
with their arms raised
Repetition of the
prepositional
in the air the warm tune of marimbas
ASSONANCE
L 18 'blacks' are a
21 On the road the porters
22 in the room the mulatress
23 On the bed the sleepless man
24 The burning coals consuming
25 consuming with fire
26 the warm country of the horizons.
phrase maintains
the calm &
neutral mood of
the observations
All people of
Africa
FUTURES
ANALYSIS: You have to see how this poem hints at Africa being a troubled country. Modern African countries
seem to smoulder with underlying destruction.
LINES 1 – 3: The TONE is neutral and objective, like a postcard of a rural area. The poem is a serious of
IMAGES shown to the reader, & by beginning with the word 'There' reinforces this idea. There is a fire behind
the ('imbondeiro') baobab trees, it could be a quiet sunset, but the word 'burnt' in L 5 destroys the image of
peacefulness in the language. The word 'horizon' shows the immediate future which is 'fire'. The baobab are
black against the light and look like human figures (silhouettes) standing against the dangers to come.
LINES 4 – 5: PERSONIFICATION (L 4): It is a cry for help, the arms are not being raised, it is already raised
which EMPHASISES that the fire is burning and has burned traditional Africa. The IMAGES (arms, burnt palm
trees) move in a series of frames in SLOW MOTION. (long drawn out sounds). L 5: The 'green' refers to both
the 'smell' and the 'trees'. The fire is consuming green trees that are growing & should be life-giving. The palm
tree in Africa supplies roofing, housing, oil and food. Africa is on fire, being destroyed by devastating civil
wars that were the outcome of colonisation.
LINES 6 – 8: The 1st stanza appealed to the SENSE OF VISION & SMELL. In this stanza, we HEAR Africa
'groaning'. The scene now changes to a view of the road with rows of porters moving goods.
ONOMATOPOEIA (L 6 to L 8): the long drawn out sounds of 'o' & 'u' SUGGESTS weight & pain. With
urbanisation, people no longer grow their own ('crueira') cassava - root vegetable, but it is transported to
town to be sold. IMAGE – 'Bailundo' city – the only reference to Angola. This stanza paints a picture of rural
Africa and people going about their daily business.
LINES 9 – 11: In an almost CINEMATIC MOVE, the FOCUS shifts to a room in town. 'the' room, the sum of so
many rooms, a sign of what Africa has become. A mixed-race women ('mulatress') makes herself attractive
for men. She doesn't belong to either the African or the Western culture. She is 'sweet' & 'sweet-eyed'. The
REPETITION of 'sweet' SUGGESTS something sickly sweet and artificial. ONOMATOPOEIA (L 10): the 'e'-sound
creates a leering, mocking sound. ALLITERATION (L 11): 'r'-sound, she is enhancing her looks in a manner that
shows new ideas of beauty colonisation has brought, but 'rouge' was not part of a black women's beauty
regimen. 'Rice-powder' whitens a face, and whiteness is now (in context of the poem) considered beautiful.
LINES 12 – 15: 'many clothes' is a Western influence – is she overdressed to entice male clients? 'sleepless',
the man is not content – his world has been disturbed by a foreign value system or perhaps, he has now
adopted Western values about material possessions and status. On the bed the man is thinking of buying
cutlery, a SYMBOL of civilisation, to 'eat with at a table', is called INVERSION. By PLACING it at the END OF
THE LINE and STANZA, subtly, yet forcibly, EMPHASISES that eating at a table is not a concept that is usual in
this society, it is mentioned like an afterthought.
LINES 16 – 20: In this stanza, the SPEED of the images increases. The IMAGES are like PHOTO'S flitting
through the reader's mind. The fire is reflected on the sky now & the figures are not trees but people playing
the 'marimbas' (deep-tone xylophones of African origin). A very typical sound of Africa. 'With their arms
raised' could be INTERPRETED as arms raised now in revolution. The SOUND of the marimba is described as
'warm' and is taken up again in the last line when he describes the country as 'warm'.
LINES 21 – 23: The speaker now brings together ALL the IMAGES of Africa. The dusty road, the room somewhere, the sleepless man who could represent a new way of life in Africa. Note that the words at the end of each of the
three lines are human beings, 'porter', mulatress', 'man'. The sum of Africa has always been her people. There is nothing like the stone buildings & monuments of Europe. The great art of Africa is not based on how long it lasts but
on its immediate impact. Now the people carry burdens that make them groan, the women seem to be used by men and the men do not sleep but dream of making money for showing off in a culture that is not their own. This is
what Africa is reduced to. LINES 24 – 26: This stanza SUMS UP the speaker's VISION and perhaps the SENTIMENT of the poet. We get the sense of something 'devouring' Africa – 'consuming … consuming'. The REPETITION
EMPHASISING the destruction of tradition. He sees Africa as 'burning', no longer just 'the warm country'. The 'horizon', or future has been consumed, and all that REMAINS are 'burning coals' which will start another fire.
A DISCUSSION ON HOW THE POET MANIPULATES THE READER THROUGH A SHIFT IN
PERSPECTIVE AND USE OF TONE:
The poem starts with the instruction to look 'There on the horizon' and experience the
colours and smells of Africa. The reader is immediately placed in a vibrant and peaceful
setting. The speaker highlights the 'dark silhouettes' and 'green smell' which appeal to the
senses of the reader. Africa becomes alive – the trees are personified 'with their arms
raised'. Despite these careful observations, the tone of the opening stanza remains neutral
and objective. There is no attempt to persuade or manipulate the reader. In the 2nd stanza,
the speaker identifies the 'groaning' porters and seems to sympathise with their burden as
they carry their load 'On the road'. The women is portrayed as innocent as she applies
make-up 'retouching her face'. The 'sleepless man' wants nothing more than 'knives and
forks' to eat with at a table, which will restore his dignity. These simple requests allow the
reader to share the views of the speaker. The fire causes silhouettes to reflect onto the sky
with 'arms raised' in the 'warm tune of marimbas'. The reader is invited to join the
diversity of Africa. The style and tone of the last two stanzas become shorter and sterner.
The 'fire' is also ongoing and described in the present tense, 'consuming' and creating a
'warm country'. The speaker feels safe and supported in Africa and avoids using generous
comparisons or rhetoric to make a point. In the 2nd last stanza the tone begins as calm and
neutral but it changes to more insistent and sterner meanings, 'On the road the porters…,'
as the speaker subtly influences the reader to observe and interpret Africa slightly
differently.
QUESTION & ANSWERS:
1. Name the four different kinds of people in the poem. The poem refers to porters, a
mixed-race woman, a sleepless man and black men playing drums.
2. How does the personification of the trees in lines 3-5 add to your understanding of the
poem? The trees have 'their arms raised' in a symbol of triumph or protest at the time
when there seems to be conflict, as the 'smell of burnt palm trees' is 'green' and
therefore fresh or current.
3. Explain the effect of comparing the drummers with the trees. The silhouette or
'reflections' of the trees mirrors that of the drummers. Both have extended limbs that
move and sway to create a sound 'in the air' which is a graceful and vivid comparison.
4. Comment on the writer's use of language in the poem. The writer's descriptions such
as 'there on the horizon/the fire' and 'the silhouette of the blacks at drums' are mostly
matter-of-fact observations of what the speaker sees. This keeps the tone neutral and
objective. But occasionally, loaded words such as 'groaning' and 'warm tune' influence
the reader's response. So, although the overall tone appears to be neutral, these subtle
shifts manipulate the reader to see things slightly differently.
5. Show how the imagery in lines 4 and 5 suggest this poem will be about the hardships
of Africa. Raised arms are usually associated with begging for mercy. Burnt palm trees
show the destruction of both food, income and material used in construction of homes.
These are very disturbing images.
6. In stanza two, which words tell you the porters' job is difficult? Groaning, loads.
7. What impression do you form of the women in lines 10 and 11? Refer to specific
words used. She is of mixed-race 'mulatress' and seems to have taken on the trivia of
western culture. She has lost confidence in African beauty and finds it necessary to use
cosmetics and the 'rice-powder' shows an attempt to whiten her skin.
8. How does the speaker increase the speed of stanza 4 and 5? How does this add to the
meaning? These two stanzas are filled with activity and the speaker draws in all the
images of the previous stanzas to almost form a hurried list of action which speeds up
the rhythm.
9. What is the effect of repetition of 'consuming' in the last stanza? The repetition
emphasizes the destructive nature of the burning and ruination possessing Africa. What
was one 'a warm country' is now on fire with revolution.
10. Do you think 'African Poem' is a suitable title? Explain your answer. Yes. Although the
reference to the Bailundo porters is Angolan, every aspect of the poem can be applied to
any country in Africa.
WHAT IS THE POEM ABOUT? The poem is about what
Eating poetry
ANALYSIS: you have to feel this poem and the energy and enthusiasm it expresses. This is
poetry does to the speaker as he reads it. It is the food for
his soul, which he devours greedily. Eating poetry is a
METAPHOR for experiencing it. It must be fully digested in
the mind and become part of the reader. Others, like the
librarian, try to prevent the speaker's enjoyment, but
reading the poem changes him into a new man. He tries to
explain himself, but people do not understand, and his
passion causes fear and disgust. The poem is HUMOROUS
and is almost SURREAL in its IMAGINARY. The speaker is
reading poetry in a library. TITLE: is DISRUPTIVE as the
IMAGE is such an unusual and sensual one. Experiencing
poetry is usually seen as an intellectual experience, and this
title INTRODUCES rawness and earthiness to the
experience.
by Mark Strand (1934-2014, Canada)
more important than careful line by line analysis. Understand that the poem is FREE VERSE
with some SURREAL IMAGES which convey a feeling rather than exact meaning. It is
important to grasp that your responses are personal and valid if you can relate them to the
text you have read.
STANZA 1: The speaker's voice is like a quiet commentary, telling the reader that ink is
running from both corners of his mouth. Ink runs, it doesn't drip or fall; its running, like
some sort of exotic juice, - EXTENDED METAPHOR comparing the reading of poetry to the
eating of delicious food, like fruit. The METAPHOR shows that, for the speaker, poetry is
just as important as food; it nourishes and sustains him. It is so enjoyable, intense, full of
meaning, and satisfying, just like the enjoyment of a poem can be. This poetry has been so
good to eat it inspires an ultimatum – this is a selfish kind of happiness, unlike any other.
This opening stanza is already painting a vivid picture for the reader in THREE SHORT, ENDSTOPPED LINES. Something delicious and wholesome has been consumed, and the result is
extremely positive. So far.
STANZA 2: The eater of the poetry is in a library, and the librarian has just witnessed this
act of gluttony, this devouring of verse. She doesn't quite believe her eyes. ALLITERATION L
6: softness/defeat/disappointment- she walks away looking sad, hands stuffed in to
pockets. It's not every day that someone comes in and eats poetry right in front of her. Is
she upset about the mess? Is she envious? She has no clue what to do. CONTRAST: with 1st
stanza - the librarian takes no joy from the beauty she is asked to protect, whereas, the
speaker gleefully indulges in the beauty of poetry. The STEREOTYPE of a stern, dowdy,
uncompromising, unimaginative librarian is used to underscore this important contrast.
STANZA 3: Again, there are THREE SHORT, END-STOPPED LINES – the speaker is direct
when he informs the reader that the poems are gone. Gone where? Off the inked page and
into the digestive system of the poetry eater. The poems are gone because the speaker has
retreated into a dreamlike state. SURREAL IMAGE – the dogs that are coming up from the
basement. Where have the dogs come from? Are these the dogs in his mind? The speaker
can't see the canines yet, only hear them. The dogs here may be a METAPHOR for the
enforcers of rules, those who switch off the lights so that one must leave the library. The
poems have been 'eaten' and enjoyed and now the speaker is told he must leave the library.
1
Ink runs from the corners of my mouth.
2
There is no happiness like mine.
3
I have been eating poetry.
4
The librarian does not believe what she sees.
5
Her eyes are sad
6
and she walks with her hands in her dress.
7
The poems are gone.
FORM/STRUCTURE OF THE POEM: it is a SIX STANZA,
8
The light is dim.
18 line poem, and looks formally conventional on the
page. Its contents are anything but, which is a primary
CONTRAST, perhaps set up by the poet to throw the
reader. Each TERCET (3 line stanza) takes us deeper into
the mind of the speaker and bizarre consequences that
unfold once he has eaten the poetry. The STANZAS roughly
organise the development of the speaker's ideas together.
The VARYING LINE LENGTHS mirror the unbounded and
liberated escapism in which the speaker indulges as he
'consumes' poetry. The poem is written in FREE VERSE (
reflects the lack of restraint the speaker feels through the
enjoyment of poetry) with no structure of RHYME. The
PRESENT TENSE, FIRST-PERSON NARRATION lends the
poem a vivid and lively aspect. The immediacy of the
speaker's experiences is HIGHLIGHTED through this
NARRATIVE STYLE. The speaker's TONE is generally filled
with awe, admiration, and joy. However, his TONE, when
speaking about the librarian, seems confused and pity
filled. The SURREAL/BIZARRE IMAGERY conforms well with
the dreamlike quality of the speaker's experience of
delighting in and being transformed by the poetry.
Strongly evocative DICTION – 'roll', 'burn', 'stamp', 'weep',
'screams', 'snarl', 'romp' in the latter half of the poem
CONTRASTS with the sedate & relatively neutral DICTION
of the 1st half: as the speaker reads and digests the poetry,
the words and ideas in his mind become more and more
consuming and difficult to control.
9
The dogs are on the basement stairs and coming up.
10 Their eyeballs roll,
IRONIC
HINT OF
HORROR
11 their blond legs burn like brush.
12 The poor librarian begins to stamp her feet and weep.
13 She does not understand.
14 When I get on my knees and lick her hand,
15 she screams.
16 I am a new man.
17 I snarl at her and bark.
THE OXYMORON HIGHLIGHTS
THAT THE EXPLORATION OF
POETRY HELS THE SPEAKER TO
DISCOVER THINGS ABOUT
HIMSELF HE NEVER NEW BEFORE.
18 I romp with joy in the bookish dark.
STANZA 4: The dogs that come up from the basement have legs that 'burn' and their 'eyeballs roll'. The LINK between this IMAGE and the IMAGE of 'ink' that 'runs
from the corners of (the speakers) mouth' SUGGESTS that the rabid mad dogs could be a METAPHOR for the speaker himself. L 10 & L 11 ENJAMBMENT: to create
TENSION BUILDING to a CLIMAX. SIMILE L 11: highlights the speed and ferocity with which the evocative thoughts brought on by poetry emerge in the speaker's
mind. ALLITERATION L 11: the 'b'-sound quickens the pace in line with the speed of this spreading fire. CONTRAST: 'burn' vs 'dim' light. AMBIGUITY L 12: 'poor' the
speaker feels pity for her lack of understanding, or the librarian is impoverished, lacking in the riches one can get from poetry. L 12: 'stamp' – frustrated by the
speaker's actions and not understanding. By now the librarian is so freaked out she goes into tantrum mode. Her nice, quiet existence in her nice, quiet library won't
ever be the same again. L 14: Dogs lick the hands of people they like or try to impress; however, she is horrified when the speaker tries to involve her in his magical
world. STANZA 5: CRUCIAL CONTRAST in the last stanza. The speaker, eater of poetry, dog-man, is now a new man. He has lost his old self and become a
passionate, well fed, energetic romper, happy to celebrate a love of poetry. L 16: He gives himself over to the emotions evoked by poetry. L 17: He fears her
blinkered point of view and rejects her conventionality. L 18 OXYMORON: books are supposed to illuminate the dark (ignorance).
A DISCUSSION ON THE IMAGERY AND STRUCTURE OF THE POEM:
QUESTION & ANSWERS:
• The poem celebrates the 'joy' of poetry and words that cause 'happiness'. Words and ink run
'from the corner of my mouth' as if they are a food making the speaker salivate for more.
• It is IRONIC that the 'librarian' is 'sad' and unmoved by words and the books around her ('she
walks with her hands in her dress').
• There is also RUN-ONE LINES (ENJAMBMENT) to create tension building up to a CLIMAX ('Their
eyeballs roll,/their blond legs burn…').
• The FREE VERSE shows a lack of restraint and pleasure that word and poetry can bring.
• Most of the STANZAS are 3 lines long except for the confrontation in the 4th stanza which is 6
lines long.
• The use of FIRST PERSON ('I') separates the speaker as being unique and full of passion and
intent.
• The speaker COMPARES himself to 'dogs … coming up' which indicates his fury and 'bark'.
• The SURREAL IMAGE of dogs confronts the librarian's lack of interest as she 'does not
understand'.
• The REPETITION and ACTIVE VOICE in the final stanza ('I am … I snarl … I romp…') intensify the
effect of the words.
• The poem seems SIMPLE but uses VIVID IMAGES and a FAST PACE to build up the significance of
the 'bookish dark' (OXYMORON) and our efforts to enjoy meaning.
1. Explain the metaphor in line 1. A poem is compared to juicy fruit. As the speaker eats the poem
its juice (ink) runs from his mouth. It is full, nourishing, and enjoyable experience as eating fruit
is.
2. Explain how the metaphor in line 1 is completed in line 3. The poetry is being eaten like a fruit.
When we eat something, we first enjoy it as line one suggests, and then we digest it and it
nourishes us. When grasp the full meaning of the poem, its ideas penetrate and lead us to a
fuller understanding of life.
3. Why do you think the librarian's eyes are 'sad' in stanza 2? She seems unable to understand
the joy of reading poetry 'she does not believe what she sees'. We can assume she is a librarian
who maintains her library and that the administration of the job is not fulfilling. She seems very
restrained 'she walks with her hands in her dress'.
4. Quote an image form stanza 4 that says the dogs are threatening. 'their eyeballs roll', 'their
blond legs burn like brush'.
5. Quote from stanza 5 to show how the speaker is a new man and explain how his behaviour
shows this. 'I snarl at her and bark' is a complete change from being on his knees in stanza 3. He
seems confident and full of energy. 'I romp with joy' shows the great enthusiasm he feels
because of fully digesting a poem.
6. Relate the incident that is conveyed in the poem. The speaker is reading poetry in a library. The
words consume and inspire him. However, the librarian disapproves of his reactions and
responses. The speaker then imagines a group of dogs confronting the librarian. These dogs are
a surreal representation of the speaker's imagination and ideas.
7. Identify and explain two images from the poem that are, in your opinion, surreal. The
metaphor of 'eating poetry' with ink running 'from the corners of my mouth' could be
considered surreal as words cannot be consumed and devoured. In a similar way, the 'dogs'
represent the energy of the speaker once poetry has transformed him so that he can 'snarl',
'bark' and 'lick' to show his displeasure towards the librarian's attitude. Both of these images are
unusual and disturbing.
8. Do you think that the actions presented in the poem are credible? Justify your answer. Words
are meant to inspire and create 'happiness' within people. It is ironic that a 'sad' librarian, who
works with books, does not 'understand' or feel the same pleasure as the speaker. It is credible
for the speaker to feel this 'joy' as the poetry nourishes and transforms him.
INTRODUCTION: The speaker remembers a defining moment in
The Hug
his relationship: a hug that SYMBOLIZED intimacy and connection.
The conversational register sets an honest and personal air and
this is further heightened by the first-person narration addressing
someone specific. A cleaver, but not rigid, rhyme scheme and
varied line lengths seem to imitate the physical form of the
partners' hug.
TITLE: describes the incident. 'Hug' is an informal word, almost
childlike. It is an act of endearment and affection and is universal
in human society. It makes the reader think of a quietly
affectionate, undemanding, simple expression of love between
friends. The use of the definite article 'The' in the title – hugs are
given and received regularly, but using 'The' makes this one seem
like the most important hug of his life, certainly the most
memorable. It gives the simple gesture importance.
WHAT IS THE POEM ABOUT? The speaker, sleeping drunkenly
after his partner's birthday party, wakes during the night. He finds
his partner has climbed into bed next to him and sleeps with him in
a tight embrace. This is not the embrace of sexual passion but
gives the speaker a sense of security and takes him back to the
settled happiness he felt at the beginning of their relationship.
The Hug is an intimate poem that Thom Gunn wrote for his
partner. It is short and insightful, with a hint of nostalgia, as
evidenced in lines 16 – 18. It highlights the obvious intimacy
between Gunn and his partner – they get drunk together and
sleep together, yet is not explicit in any way. Physical proximity
becomes an image of a soulful connection.
By Thom Gunn (1929-2004, UK/USA)
FORM/STRUCTURE OF POEM: consist of 2 stanzas with 22
lines, which are irregular in rhyme and length. It is a poem in
praise of someone and could be called an ODE. THE RHYTHM is
iambic (two syllables) which, at times, gives the poem a smooth,
gentle pace. The complex rhyme scheme, varying line lengths,
and TYPOGRAPHY (the shape of the poem through indents)
imitate the physical shape of hugging one's partner. The STYLE is
conversational. The FIRST-PERSON NARRATIVE and frank
DESCRIPTIONS lend an air of authenticity and intimacy. The
IMAGERY of the poem revolves around the physical act of the
hugging. The gesture is described in detail. The LITERAL
INTERPRETATION of the image of embrace gives way in the end to
a realisation of the FIGURATIVE MEANING of the gesture: support
and acceptance. The RUN-ON LINES (ENJAMBMENT) create a
sense of how quickly time has gone between the grand passion of
youth and the quiet security of now.
1 It was your birthday, we had drunk and dined
2
Half of the night with our old friend
3
Who'd showed us in the end
4
To a bed I reached in one drunk stride.
5
Already I lay snug,
6 And drowsy with the wine dozed on one side.
(Long-sounding words with a soft 'd' and 'z' sounds create a
content atmosphere)
7 I dozed, I slept. My sleep broke on a hug,
8
Suddenly, from behind,
9 In which the full lengths of our bodies pressed:
10
Your instep to my heel,
11 My shoulder-blades against your chest.
12 It was not sex, but I could feel
13 The whole strength of your body set,
14
Or braced, to mine,
15 And locking me to you
16 As if we were still twenty-two
17 When our grand passion had not yet
18
Become familial.
19 My quick sleep had deleted all
20 Of intervening time and place.
21
I only knew
22 The stay of your secure firm dry embrace.
STANZA 2:
L 19 – L 22: 'all of intervening time
and place' REFERS to the time that has passed
between the passion of youth and the stability of
maturity. The sudden waking from his sleep by
his partner's hug brought together these two
extremes. The speaker REFLECTS that, at the
moment, nothing else mattered ('I knew only)
except the supportive hold of his partner. The
ALLITERATION of the 's'-sound (L 22) REINFORCES
the stability and security he feels in his
relationship. Notice how clear the IAMBIC
RHYTHM is that lull one into security. His 'sleep'
was quick and has erased all the years and events
of the lives of two. All he knows is what has
remained in the relationship. Security & strength
& safety have endured. When one is home and
'dry', one is safe, out of dangerous waters.
ANALYSIS: The poem provides an opportunity for you to think about the nature of love between friends.
It is a concept few people understand, least of all young people who are starting out in relationships.
STANZA 1: ALLITERATION: The constant repetition of the 'd'-sounds throughout EMPHASIZES the
relaxed, almost devil-may-care atmosphere of the situation and SUGGEST a fuddled, intoxicated state.
The speaker reminisces on a memorable moment in his relationship. It is even more significant, because
(despite the importance that a birthday celebration usually holds) it is an everyday scene: friends
together drinking wine and enjoying good food. The IMPORTANCE of the moment is JUXTAPOSED with
the banal occurrence of simply being with friends. The TYPOGRAPHY (the shape of the lines on the page)
demonstrates the tipsy, half-conscious movements of the speaker as he staggers to a bed that is not his.
Note the word 'snug' L 5 – the 's'-sound reinforces the speaker's feelings of contentedness, happiness,
and feeling protected. Note the use of SIMPLE LANGUAGE. Nothing is startling about the occasion of a
birthday. The poet uses PERSONAL PRONOUNS – your, we, our – which EMPHASISE the closeness
between partners. The JUXTAPOSITION of I and You throughout lends a very personal feeling to the
poem. The 'old' friends had 'drunk and dined'. This celebration is the usual one. The line ends with the
word 'friend'. And old friend is undemanding and accepting, rather like a family member who knows all
about you and what you need, in this case, a bed to sleep on. The CONNOTATIONS of the words 'bed',
and 'snug' are of a child expressing his feelings in language that SUGGEST comfort and warmth. His
EMPHASIS is on I. He is remembering his actions and only his, as a child would.
STANZA 2:
L 7 – L 11: The word 'broke' SIGNALS a sudden change in the speaker's MOOD and
changes the TONE and PACE. The word CONTRASTS with the sleepiness expressed before. The hazy
nothingness of sleep is shattered by the physical act of being hugged. The first part of this line describes
the slide from a sleepy state to full sleep. The SHORT SENTENCES are like downward steps leading to the
finality of the FULL STOP at the end. 'Behind' L 8 shows that something which happens behind one is
unexpected, and a hug is usually done face to face. The LINE STANDS ALONE & IS SHORT – an indication
of the suddenness of the change the speaker experiences. Note the position of the two bodies. 'They
have formed a unit' - they could not be closer. The EMPHASIS is now on 'your' and 'our'. L 10 & L 11
ILLUSTRATES the compatibility of these two people: they fit into one another physically like puzzle
pieces. The IMAGE also begins at the bottom and moves to the top. It is all-encompassing. The arch of
the 'instep' fills the void of the lower part of the foot; the 'shoulder-blades' lock into the chest of his
partner. Their connection is physical (the feet) as well as emotional (the chest, where the heart is). L 12 –
L 14: the physical gesture is neither erotic nor based solely on physical desire. The words 'set' & 'broke'
evoke ideas of support, aid and understanding. The closeness is the foundation of their connection. L 15:
they are a single unit – bodies & strength. RHYMING words heel/feel and chest/pressed add to the sense
of unity. Your and I balance the sentences. The words 'me to you' are close together showing their
closeness. The speaker now resolves the 'I' and 'you' into 'we' in L 16. L 16 – L 18 explore the idea that,
in time, a relationship often becomes less characterised by passionate desire and more like friendship.
The speaker points out that his partner's closeness locks them together 'as if they were still twenty-two'
– they still share passion & desire, while at the same time being dependable & supportive. He mentions
the exact time they met which makes the poem very personal & written for a particular person. There is
a certain sense of NOSTALGIA in L 17 with the phrase 'not yet'. Inevitably, relationships become 'boring'.
He fondly remembers their youthful passion but is glad of the sense of stability and connectedness they
have now. L 18: 'familial' – this is not a formal ODE addressed to an imaginary love. This love endured for
many years and has become 'familial' which SUGGESTS both family and familiar.
A DISCUSSION ON THE STRUCTURE AND DICTION OF THE POEM CONVEYING
MEANING:
RHYME SCHEME:
• There are rhymes but they do not fit into a fixed pattern.
• Sometimes the rhymes cross, sometimes they are in couplets, and
sometimes they link up further away than two lines apart.
• This could imitate the fluid connection of the bodies of the couple. They
are not bound together in a formal or official sense, but they fit with each
other.
• Like the rhyme scheme, the bodies (and hence the lovers) move between
form and looseness, fixity and freedom.
LINE LENGTH:
• The lines vary between short and long, and sometimes a pattern seems to
emerge, but then it is broken.
• There is however a loose pattern and a sense of balance to the line lengths
and this again reflects the reciprocity of the lovers and their deep bond.
• Enjambment allows for other lines to stand alone and have more impact:
'Your instep to my heel'. 'Your' is followed again by 'My' at the start of the
next line which again demonstrates a balance of power and an emotional
as well as physical fit.
STANZAS:
• There are only two stanzas: the first serves as a type of introduction to the
main event, while the second stanza is one long relaying of the important
hug, which reflects the significance of the event.
QUESTION & ANSWERS:
1. Quote the words that begin with 'd' in the first six lines and explain the effect the repetition has on
the meaning of the poem. Drunk, dined, drunk, drowsy, dozed. The 'd' sound is a heavy, sinking
sound. It is used here to reinforce the heaviness experienced as the speaker sinks into a heavy sleep
associated with the use of alcohol.
2. Which type of love mentioned in the 'For the curious' block on the next page, do you think Thom
Gunn describes in this poem? Explain your choice. This is philia or pragma. There is great physical
closeness, 'I could feel the whole strength of your body'. However, there was no sex involved. He
refers to their youth 'we were still twenty-two' but how his experience is of the security of love.
3. Lines 15 – 18: Explain how the run-on lines adds to meaning. He talks about the passage of time.
These run-off lines create a sense of how quickly time has gone between the grand passion of youth
and the quiet security of now.
4. How does the word 'locking' in line 14 add to your understanding of the relationship between the
two? It suggests the physical closeness. They are inseparable.
5. Lines 16 – 18: Which types of love as defined by the ancient Greeks do you think are referred to in
these lines? The grand passion of Eros.
6. Line : A 'stay' fixes an object in place. Do you think this a good choice of words here? Explain your
answer. This is a good choice of word because it describes accurately how the love has developed
into something constant and secure. It anchors him.
7. State the occasion and the reason for the speaker's drowsiness. The lover's birthday, they have been
drinking 'Half the night'.
8. What is it that interrupts the speaker's sleep? His lover comes to bed and hugs him.
9. Explain the effect of using the definite article (The) in the title. Hugs are given and received
regularly, but using the definite article makes this one seem like the most important hug of his life,
certainly the most memorable. It gives the simple gesture importance.
10. What is the poet's reason for including the first stanza in the poem? At first it doesn't seem
important, because the hug only comes in stanza 2, but the first stanza provides a backdrop for the
event and helps to convey its significance to the speaker by way of the fact that he can remember the
day it happened and the circumstances. It is also interesting that, in his drunk state as explained in
stanza ) he sleeps deeply but the hug is still able to leave a strong impression on him.
11. In your view, is the speaker justified in suggesting that this simple gesture of a hug is so
monumental an event? Give a reason for your answer. This personal value judgement which must
be backed up with reasons. Sometimes a hug can communicate more intimacy than any other
physical contact. However, hugging has also become a commonplace greeting so it is often devalued
by insincerity. It is clear from this poem that this simple event represented so much more for the
lovers.
WHAT IS THE POEM ABOUT? The poem deals with a
nameless man whose humbleness and humanity set the
standards that, in Motsapi's view, the people of the new
South Africa should aspire to. He remained a simple man,
in touch with his roots he is part of the rural community
and does not seek an alternative lifestyle. To get his
message across, Motsapi has chosen an ALLEGORICAL
approach. His simple and humble man epitomises the kind
of spiritual and moral rebirth that he sees as the most
potent cure for the problems that the new South Africa is
faced with. The man is content to remain 'human' and to
develop his own humanity to be able to help his small
community and the people around him. In that sense, his
attitude to life is cooperative and his 'unassuming
radiance' sets the standards which Motsapi sees as
essential for the success of the new South Africa.
TITLE: the use of the DEFINITE ARTICLE 'The' tells us this is
a very specific person who has impressed the speaker for
some reason. As the poem develops, we realize the man is
unique because of his spiritual quality.
FORM/STRUCTURE OF THE POEM: consists of 22 lines in
five stanzas of unequal length. The lines of each stanza
have no RHYTHMIC pattern, so the poem is like a dream
about the speaker' memories. It is not a formal poem that
one can place in a traditional category. Informal poem.
The poetic devices used by the poet are unusual. He uses
words in contexts we do not recognise, which makes the
reader think twice about their CONNOTATIONS. The
division of the stanzas seem to offer pauses while the
speaker gathers his thoughts, and in a new stanza, a new
picture arises in his mind. He very seldom uses CAPITAL
LETTERS, no PUNCTUATION, and does not ever name the
man. He EMPHASISES certain words by placing them at
the ends of the lines – INVERSION.
The man
by Seitlhamo Motsapi (1966-, South Africa)
ONLY CAPITAL
1
2
3
4
an almost forgotten acquaintance
was in town recently
i noticed that it started raining
just as he ambled in
NO CAPITAL I
SIMPLICITY & FREEDOM OF THE POEM
5
6
7
8
i remember him as a simple man
growing up, we all wanted
METAPHOR
to be doctors, lawyers & teachers
so the blood could ebb out of the village
9
10
11
12
13
14
METAPHOR
my friend had much more sober dreams
L 9 – L 11
he asked the heavens to grant him
the imposing peace of the blue-gum in his backyard
& that all the poor send him their tears
SIMILE
so he could be humble like the sun
so the red wax of the stars would not drip onto him
15 i remembered that man today
16 & all i think of is his unassuming radiance
17 like that of a blushing angel
18
19
20
21
22
SIMILE
as for his dreams
PERSONIFICATION
he tells us
whole forests invade his sleep at night
so that there’s only standing room
for the dreams
FIGURE OF SPEECH: Refer to the next page for a discussion on
metaphors and similes in the poem.→ NB!!
LINES 18 – 22: It is difficult to know what the speaker means in this stanza. The man dreams of forests that invade his sleep.
Forests are filled with unknown creatures, trees, plants and are shaded which hints at the uncertainty of life. The use of the
word 'invaded' is interesting. The forests have invaded the man's sleep so there is no room for his dreams. Dreams of wealth
or ambitious ideas are not given room in the humble man's mind. Dreams are usually hopes for oneself, and the man has no
thoughts for himself.
ANALYSIS: LINES 1 – 4: The speaker sees the man initially as almost
forgotten, not someone who has been a friend over time. His presence is not
assertive, and he does not seem to mean much to the speaker. He 'ambles'
into town, his walk is slow and relaxed. In Africa, rain is very positive and the
man seems to bring the rain and bless the town. Rainmakers are highly
respected prophets. The man goes into the town from a rural area perhaps.
LINES 5 – 8: The man is simple without grand ambitions. Professions like
'doctors, lawyers, and teachers' were the way out of the village for rural
children. 'Blood' SUGGESTS the life and strength of the youth which every
village need to survive, but is will 'ebb' like a fluid slowly draining away or
the 'ebb' of a tide, when the young people leave to follow careers. The
draining of the power of the village seems inevitable as young people to to
towns to earn money.
LINES 9 – 11: The man is now a 'friend'. Perhaps the speaker has grown to
understand the man and his 'sober' dreams. The dreams of the speaker and
his friends seem drunken in CONTRAST to the sober hopes of the man.
METAPHOR: The man asked for peace, and the peace he asked for was in the
stillness and solidity of the blue-gum tree deeply rooted in the soil. The
blue-gum is tall and impressive and it stands alone in the yard. The man is
alone in his attitudes too. The tree asks for nothing but gives back shade and
shelter. LINES 12 – 14: Perhaps the speaker SUGGESTS the man wanted to
listen to all the problems and troubles of the poor. He was humbled by the
fact that there is so much that is not peaceful in people's lives. The sun is
humble in that it is not selective but gives equally to both poor and rich. The
REFERENCE to 'stars' could have many meanings. Red is the colour of blood
and the 'red wax' would not drip onto the man because he is 'humble' and
not ambitious. The stars are like candles in the sky. Perhaps the stars are the
young people who shine in the sky of success and yet despite this, are
bleeding with pain and unhappiness and the success just melts away like
wax. Perhaps this is a REFERENCE to the MYTH of ICARUS (Needing to escape
the island of Crete, Daedalus used wax to build some wings for himself and his
son, Icarus. He warned his son, to fly at a middle hight so the sun would not
melt his wings, but Icarus did not listen, and his wings melted, and he plunged
into the sea and drowned.). LINES 15 – 17: The man is described as
unassuming, not a leader, or delivering judgement on anything. His
'radiance' is like an aura of 'an angel' who has found truth and
enlightenment. He is simply in tune with the world he belongs to and so
seems to glow with contentment. An angel is a messenger, a guardian, who
does the bidding of God. He is at peace in his rural environment and his
work as a helper of 'the poor who send him their tears'.
SUMMARY The poem deals with a nameless man whose humbleness and humanity set the
standards that, in Motsapi's view, the people of the new South Africa should aspire to. A man whom
the speaker had known previously, returns to town and the speaker sees afresh how untouched the
man has been by the ambitions and hopes of the speaker's generation. He remained a simple man, in
touch with his roots he is part of the rural community and does not seek an alternative lifestyle. At the
same time, he had visions and dreams of his own related to the natural world. To get his message
across, Motsapi has chosen an allegorical approach. His simple and humble man epitomises the kind of
spiritual and moral rebirth that he sees as the most potent cure for the problems that the new South
Africa is faced with. Significantly, Motsapi's man is not interested in playing political games or
associating himself with any political movement of faction. Nor is he particularly eager to become part
of a new black bourgeoisie and pursue some high-flying career that will arouse the envy of his fellow
men. On the contrary, he is content to remain 'human' and to develop his own humanity to be able to
help his small community and the people around him. In that sense, his attitude to life is cooperative
and his 'unassuming radiance' sets the standards which Motsapi sees as essential for the success of
the new South Africa.
A discussion on how FIGURATIVE LANGUAGE and the use of PUNCTUATION can
reinforce the MESSAGE of the poem: → NB!!
CAPITAL LETTERS are not used in any words in this poem with the result that the subject matter and
characters referred to take on a broad and unspecific existence. This in turn suggests that the situation
is a broader problem affecting many rural communities in Africa.
The LOWER CASE NARRATIVE of 'i' makes the intrigue surrounding the arrival of the 'almost forgetting
acquaintance' peculiar. The 'raining/just as he ambled in', marks his arrival as special. The man is
described as 'simple' and 'sober' whereas the other people of the village want to be 'doctors',
'lawyers' & 'teachers'. The desire to qualify as a professional and seek work elsewhere is criticised in
the METAPHOR of 'blood' ebbing 'out of the village'.
The man request that the 'poor send him their tears', which portrays him as a Christ-like figure
wanting to be 'humble like the sun'. The SIMILE explains how he seeks to sustain and warm the village
and its people. His warmth continues to be described in the 'radiance/like that of a blushing angel'.
Again, he is compared to heavenly creatures and to the sun. The METAPHORS and SIMILES continue
to pay tribute to his life-giving qualities.
The returning man is able to put the needs of others before his own. This CONTRASTS with the
ambitions of the others. The lack of all PUNCTUATION and the use of LOWER CASE 'i' maintain the
simplicity and freedom of the poem. People do not need rigid structures and boundaries to guide and
shape them. They can live and solve issues simply.
QUESTION & ANSWERS:
1. Quote two words that show that the 'acquaintance' is not an arrogant man. The acquaintance has
'sober dreams' which show he is not an arrogant man.
2. Describe the man's character as revealed in the word 'ambled'. The man has 'ambled' in, which
makes him appear gentle and calm. He brins a sense of peace and humility with him to his village.
3. Compare what the speaker says they used to dream about as children with the ideals the
'acquaintance' had for his future. As children, the villagers dreamt about being 'doctors, lawyers &
teachers'. The man shows that having 'simple' and 'sober' ideals also offers a 'peace' and 'radiance' to the
community.
4. What, do you think, would be the effect on the village if all the dreams of the children became a
reality? Justify your response. Life in the village would change if all the dreams of the children became a
reality. There would be a shortage of humble people willing to work and serve the needs of the community
if everyone left to fulfil professional roles in urban environments. Although the man may be regarded as
unambitious, he is more like a 'blushing angel' who offers peace in his community.
5. Discuss critically the speaker's suggestion that the life of the 'acquaintance' is better than the life
of a doctor or lawyer. The speaker is justified by suggesting that the life of the acquaintance offers an
'unassuming radiance' which ensures tranquillity and the continuation of the village. Noble ambitions to be
a doctor or lawyer could decimate the village, taking able and qualified people to cities rather than keeping
them in their communities where they can contribute to the 'peace' and help take away the 'tears' of the
'poor'.
6. Explain what the word 'ambled' suggests about the man. To amble is to walk in a relaxed unhurried
way. It suggests the man is under no pressure and was in no hurry as he has no deadlines to meet.
7. Explain your understanding of a 'simple' man. What do you think the advantages are of being a
'simple' man? A simple man is someone who makes no demands on the world. He lives in tune with his
environment, accepts life as it is, and is unworried about material needs.
8. 'so that the blood could ebb out of the village'. What do the words 'blood' and 'ebb' tell you
about the effect of the movement of young people from the village? 'Blood' is wat gives life and
health to a body. 'ebb' is a gradual withdrawal. These word show the community gradually dies as young
people ('blood') leave. They should be bringing new life to the village and ensuring its health and survival.
9. Quote a line from stanza 3 that shows the man is a simple man. Explain your choice. 'grant him
the imposing peace of the blue-gum'. His prayer is for peace of a tree which is a natural, uncomplicated
choice.
10. 'all the poor send him their tears'. What is your response to this line? It makes me think he must be
a compassionate man who cares about the suffering of others.
11. What do you think is the reason for the man's 'radiance' in line 16? We are told he is 'unassuming'.
He is humble and makes no demands. He simply lives in tune with the world he belongs to and so seems to
glow with contentment.
WHAT IS THE POEM ABOUT? The SPEAKER is
travelling on a train in England, the country
that has become her home, and a flash of the
sea makes her reflect on the country of her
birth – a Caribbean island. She reflects that
these memories will always be part of her,
and she will always have two homes - the
one from her memories and the place she
now lives.
TITLE: 'Home' is a very EMOTIVE word and
means different things to different people.
The CONNOTATIONS of the word 'home' for
Merle Collins are bound up in her experience
of the physical landscape of her home in
Grenada and the landscape of England
before her, which was her home at that time.
FORM/STRUCTURE OF THE POEM: a fourteenline poem in the style of the Shakespearean
sonnet. It has three quatrains and a rhyming
couplet that rounds off the thoughts expressed
and summarises them. Because it is similar to a
sonnet it could be linked with love.
The three stanzas are separated: the memory is
triggered, then the longing and memories are
described, and thirdly the memories become
'spirits' that haunt the speaker.
Home by Merle Collins (1950-, Caribbean)
1
Nothing but a name, and a sea-flash of blue
a
2
pulling me from a stranger's brooding
b
3
Berwyck-Upon-Tweed, a sudden blue reminding b
4
that these are British ISLES, and beautiful, too
a
5
A fleeting look that feeds some need
c
6
for sea, for mountain dew laughter
d
7
for dust, for sky, for woods and water
d
8
for Caribbean Berwyck-Upon-Tweed
c
9
To escape pursuing spirits, cross water
10
they say, for spirits cannot follow
11
but these have left the tang of mango
12
have crossed and mean to linger
13 From a train in England, on a journey home
14
fleeting seascape, recalling dreams of home
However, the RHYME SCHEME has some patterns of the Italian sonnet. The 1st quatrain rhymes abba, the 2nd
cddc, but the 3rd quatrain (stanza) does not have a set pattern. The 1st and 4th line of each stanza is separated by
the body in the middle. This LINKS with the idea of separation from her birthplace and culture. It also SUGGESTS
the idea of coming back (to the original rhyme) which may be what the pull is. The final couplet marries two
concepts of home, so it is fitting that they should rhyme together.
There is no regular RHYTHM, but the DICTION suggests thoughts and ideas that are not expressed aloud but are
gathered in flashes of language, like the views from the train.
ASSONANCE & ALLITERATION L 5 – L 6: the words 'fleeting', 'feeds' 'need', 'sea' creates a lyrical rhythm and a
powerful mystic MOOD. The IAMBIC nature of the first line also adds to this feel of a constant pull to home. The
REPETITION of the word 'for' creates a list of many things that accumulate to 'pull' the speaker home.
ASSONANCE L 11: 'tango of mango' makes the memory more vivid.
TONE & MOOD: overall the poem has a sad tone when she yearns to go back to her hometown. The poem has a
gloomy mood as the poet is sad to be away from her birthplace and culture.
METAPHOR – STANZA 3: in this stanza her longing become like spirits that haunt her.
CONTRASTING JOURNEYS – traveling by train and her journey in her mind/dreams are described so that the
difference between the journeys are emphasised. This is called the JUXTAPOSITION.
Analysis: Reflect on what makes a 'home' valuable for you, to understand that the experience of home is
different for each person and that every human being needs to be connected to a home in some way.
LINES 1 – 4: the poem starts with the word 'Nothing' which SUGGESTS emptiness and is a powerful
negative. The word 'Nothing' and 'brooding' tell us the speaker are not happy. The speaker is jolted 'pulling' out of her thoughts by a 'sea-flash of blue' and the name 'Berwyck-Upon-Tweed'. (small coastal
town). The WORD ORDER 'sea-flash' describes how the speaker sees the sea from her train window.
These sights 'pull' her from her dark thoughts, and she is no longer brooding. Before the 'sea-flash' she
was a 'stranger' in this landscape but now she has been pulled out of this feeling of alienation. The two
homes she has in her mind (Grenada and England CONTRAST strongly. The REPETITION of 'blue' links with
sea, but also with gloomy emotions. 'beautiful, too' seems to comfort the speaker and console her, the
reminder serves to re-assure the speaker. The movement of the train is clearly present as it slows down,
and the name of the town appears and then a 'sudden blue'. The word 'blue' RHYMES with 'too'. Both
homes have things in common: their beauty, their blueness, and that they are islands. The word ISLES is
EMPHASISED as she recognises that England is one of the islands of the British Isles in the Atlantic, as the
Caribbean Islands are a collection in the Caribbean. The word 'too' hints that she thinks the beauty of
Britain is slightly inferior as there is a hint of reservation in the tone of this.
LINES 5 – 8: The speaker had possibly not realised how much she missed the physical presence of the
island and the laughter. These things feed a need in her like a mother. 'Dew' is a soft natural unpolluted
wetness formed as water vapour condenses. It is clear and perfectly sterile. The 'dew' in the mountains
would be cool, fresh, and again, unpolluted by the heat and rush of urban living. Linking all these
CONNOTATIONS to 'laughter' gives a wonderful picture of laughter which is clear, happy and soft. 'Some
need' ILLUSTRATES the instinctive nature of the homesickness. 'Sea', 'dust', 'sky', 'wood', 'water' provide
detail of home and elements convey her closeness with the land of origin. The word 'dust' is a direct
CONTRAST to the cool and fresh words of the previous line. The word 'for' is REPEATED as the speaker lists
all the things she misses that are different from her present home. Also, the word 'for' is often used in
church services to list the things one should be grateful for: 'these and for all your gifts we thank you
lord.' LINES 9 – 12: Grenada, the poet's home island, was a very troubled country politically and over the
years various governments purged any critics and intellectuals. The escape to England would mean the
speaker would be safe for the political purges that troubled her. Water washes away the evil and as in
baptism, it SYMBOLICALLY clears away sin. 'Pursuing spirits' SUGGESTS that she is haunted by the
homesickness but also shows that it is relentless – the 'spirits' have, in fact, managed to 'cross water' and
'mean to linger'. The word 'but' shows a shift in perspective. The spirits are now memories and
experiences which cannot be forgotten. One of the clearest memories of home is food, and the flavour of
mango is unforgettable – sweet, tangy, complex. The spirits of memory and belonging have crossed over
with the speaker to her new home and will not be forgotten soon. These memories live in the SENSES.
The coolness, the tang, the blueness of the sea are all sensual and the memories take the speaker back to
the Caribbean. LINES 13 – 14: The couplet ends strongly with the REPETITION of 'home' at the end of each
line. It sums up the speaker's experience. She is on the train going to her new home which is in England.
She sees just a quick glimpse of the sea and it reminds her of her earlier home. She is safe here in England
and the new home enfolds her, but she will always live in two places because her memories of the home
where she was nurtured and fed will always be with her. The REPETITION of 'home' also consolidates the
two concepts, especially with the 'journey' being JUXTAPOSED with the 'dreams'.
QUESTION & ANSWERS:
1. In stanza 1, what causes the speaker to remember her home country? Quote to support your
answer. She catches a glimpse of the sea, a 'sea-flash of blue'.
2. Line 4: 'beautiful too'. What is implied in the use of the word 'too'? The 'too' is almost an
addition. She always knew the island she came form was beautiful, and now she realises her
new home is as well.
3. Line 5: 'that feeds some need'. Explain your understanding of the need the speaker feels and
quote to support your answer. Hers is a need for her old home. She goes on to recall the sea,
mountains, wood, and water of her Caribbean home and the laughter.
4. Quote three images in the poem that appeal to the senses. Discuss why they are important.
'sea-flash blue' → the glimpse of the sea is a reminder of the brilliance of the sun on the sea in
the Caribbean. 'for dust' → dust reconnects her with the land she comes from. 'tang of mango'
→ home is always associated with food.
5. What do you understand by 'pursuing spirits'? They are the memories that follow her from her
home. 'pursuing' suggests the memories hunt her down and 'spirits' suggests the memories
haunt her.
6. Explain the use of the word 'home' in the rhyming couplet. Home is used at the end of each
line. The first line refers to her home in England that she is travelling to on the train. Home in the
second line is her home in the Caribbean that she carries with her in her memories.
7. Identify who the stranger is in the poem. Most likely Collins herself.
8. Summarise where she has come from (this part requires two answers) and where she is going
to. She has come from the Caribbean, but she has also been away, either on work or holiday,
from her home in England, which she is going to on the train.
9. Consider the 'pursuing spirits' in line 9. Where are they from and why do they pursue her? The
spirits are from her original home in the Caribbean and they pursue her to haunt her either to
remind her of home or to make her return.
10. What are the two different homes referred to in the last couplet? Her home (dwelling place) in
England, and her home (her birthplace) of the Caribbean, which is the 'home' she dreams about.
11. Discuss the effectiveness of the rhyme scheme of the poem and the impact it has on the tone.
The first three stanzas follow the abba of the beginning, where the first and fourth lines are
separated by die body in the middle. This could link with the idea of separation from her
birthplace and culture. It also suggest the idea of coming back (to the original rhyme) which may
be what the pull is. The final couplet marries two concepts of home, so it is fitting that they
should rhyme together. The impact on the poem is it contributes to a gloomy mood as the poet
is sad to be away from her birthplace and culture, but she is also thankful for being safe in her
current home.
WHAT IS THE POEM ABOUT? The poem relates the
experiences of a man flying a glider over the countryside. He
sees plots of old and new graves tucked away. The speaker
muses on the difference between the graves of older times and
the newer ones. He sees the lives lived as part of life's greater
landscape of living and dying.
TITLE: Literal meaning – gives an immediate insight into the
observation position of the speaker. It is from the air that one
gets a clear picture of a whole. The air gives a far bigger
perspective. The speaker sees the CONTRAST between the two
graveyards, and this is what brings him to reflect on the cycle of
life and death.
FORM/STRUCTURE OF THE POEM: 21-line, two stanza
poem with a definite rhyme scheme in the first stanza. It is
divided into two stanzas, but the stanzas are strongly linked by
the run-on lines in 8 and 9, and the word 'still' which echoes
into the second stanza. The RHYTHM and IMAGES of the poem
are like a spoken shared memory between two people. It is a
narrative with song-like quality. This is achieved using simple
language and an abab rhyme scheme. The poem ends with a
couplet and it has the same function as that of a
Shakespearean sonnet. It summarises and concludes the
poem. NB! → The poem makes use of a mixture of RHYME and
FREE VERSE. Rhyme is usually associated with order and
control, but it can also represent normality and routine. The
old graves of the 'regular deceased' – those who died of routine
causes – are bound by the alternating rhyme of the first
section. The newer unmarked graves, which are being dug at an
increasing pace, are described in the free verse section. This
indicates the lack of control and how abnormal the rate of
death has become.
FIGURE OF SPEECH: METAPHOR L 21 – it creates a sense of
death being cultivated on a large scale as the graves are likened to
crops. Death is turned into a METAPHOR in which the dead are
sown and graves rise like crops.
From the Air
by Michael Cope (1952-, CT, South Africa)
1 He said that he could see it from the air,
a
2 clipped in beneath his glider, almost free
b
3 below cloud-base. He said from there
a
4 you spy things that the road-bound never see.
b
5 It’s marked out like a picture-book, he said.
6 Tucked in away behind some folded hill
7 the graveyards lie. Here the assembled dead
8 are ranked by time. The older graves are still
9 there in their place. Some tended once a year,
10 some with stones or flowers, dates and names.
11 The old-time regular deceased lie there.
12 And all around them, file on file, the graves
13 of the new dead, packed with red earth
14 and marked with a cross or a stick or nothing,
15 and the grass still not grown about them
16 and the new ones, rows of pits,
17 and the diggers digging more,
18 fresh earth in raw heaps,
19 gaping holes.
20 And round these, fields of clear land, he said,
21 waiting to be cultivated with the dead.
ANALYSIS: The suggestion that the couplet at the end of the poem shows that
the pilot learnt a lesson about life and death from his bird's eye view, is
debatable. There is value in candidates seeing there is not always only one way of
looking at the meaning of a poem and there can be justification for different
points of view.
LINES 1 – 4: the glider pilot, 'He' has nothing to spoil his view of the countryside.
He is 'clipped' in but not enclosed in a cabin. There is no noise, he is below the
clouds and he is almost free, like a bird. But only 'almost'. His view of things is still
limited as is his understanding of what he is seeing. He can, however, see things
those who are 'road-bound' would not be able to see. This is a man who is seeing
something particular about life. At the end of the poem, the poet again says, 'he
said' and notice how the focus of his vision has shifted. Note the rhyme scheme,
'air', 'free', 'there', 'see'. The simple words and the rhyme is almost childlike.
LINES 5 – 8: the images in the first two lines as the pilot floats high above the
land are clear and 'marked out' like the pictures in a child's storybook. The
graves are 'tucked away'. The reality of death is hidden from the living in many
societies. Death is hidden away from children by never allowing them to see the
dead and the graves. It is a 'folded' page in our understanding of the storybook.
He describes the dead as 'assembled'. They are formally brought together. The
dead are 'ranked' by time. Graves note the date of birth and death. The poem, so
far, deals with thoughts that are not unusual. However, the next three lines
introduces a new thought. There is a distinction between older and newer
graves.
LINES 9 – 11: the word 'there' joins the two stanzas and suggests a pointing
action. The graves described here are traditional and settled. These people have
died of 'regular' natural causes: old age, illness, or accidents and these graves are
usually tended, decorated, and named. These dead were once loved or known
well enough for people to take care of them and observe customs.
LINE 12 – 14: the poem clearly focuses on the THEME the poet want to express.
There are so many new graves there is no possibility of keeping up with customs
of death. They are 'file upon file'. The word 'file' is particularly soulless. It
suggests anonymous, nameless masses, a rank of people who are faceless and
buried with so many others like sheets of paper in a file. The older dead have a
'place'. The words at the end of the lines are now only HALF-RHYMES which
disrupt the easy rhythm of the earlier lines.
LINES 15 - 19: There are now no rhyme and the lines are short and hart-hitting. The graves are described as 'pits'. Pits are dug to put rubbish into, not people. Note the ALLITERATION of the 'd' like grunts
telling the hard labour. The pits are 'dark rectangular holes' which is even more horrible if one thinks that soon the holes will be filled. The graves are 'new' in two senses; they have been newly dug and they
are filled with people who have not grown old. This could be a reference to the huge tragedy that AIDS and the HIV- virus have been in this country. At this point, you should go to the couplet at the end of the
poem and see what the speaker compares these people to. LINES 20 – 20 continues on the next page…
LINES 20 – 21: The clear land will soon be a burial ground. 'Fields', 'clear', 'cultivated' are
words associated with growth which encourages hopefulness and yet they seem only to be
filled with the 'dead' – a powerful word to end with. However, the poet has now returned
to the 'he said' – the first two words in the poem. He returns us to the original thoughts
and views expressed by the pilot. The fields are still alive as they were in the first stanza,
ready for growth. There is a cycle and pattern to life and death. We are 'road-bound' and
stuck in the paths made for us. We do not see that death is part of life, and we see it as an
end. Perhaps the dead are part of the cycle of growth and cultivation of the planet.
A discussion on how the variation in rhyme scheme creates an additional layer of meaning
in the poem (NB!)
The poem provides an account of how a glider pilot remarks on the graveyards over which he flies.
He comments not only on the differences between the newer and older graves, but also on the
rapidly expanding nature of the graveyards. This poem makes use of a mixture of rhyme and free
verse. Rhyme is associated with order and control but can also represent normality in the order of
words and sounds. The old graves of the 'regular deceased', those who died of routine causes, are
bound by the alternating rhyme of the first section. The poem begins with a abab cdcd efef rhyme
scheme. Seven lines of free verse follow the regular structure of the beginning of the poem. The
newer unmarked graves that are being dug at an increasing pace are described in the free verse
section. The lack of control in rhyme indicates how abnormal the rate of death has become. The
poem ends with a couplet which is a traditional technique for a summary and closing statement. A
part of the poem is written in sonnet form, broken with a free verse section, showing how death
intrudes unannounced on any structures or meanings of life.
1. Name two things that mark the older graves as different from the newer graves. The older
graves are marked with stones, flowers, dates and names; whereas the newer graves are packed
with fresh red earth and a cross, stick or nothing.
2. Quote two examples from the poem that tell you there are more people dying now than in the
past. (Any two from) "All around them", "file on file", "rows of pits", "digging more" and "to be
cultivated with the dead" indicate that more people are dying now than in the past.
3. What is the writer's motivation for using rhyme for the part about the 'regular deceased'
compared to the section that is in free verse? The use of rhyme to describe the 'regular
deceased' is similar in style to a eulogy and formal tribute, and indicates formal and
acknowledged deaths. Free verse shows informality, indicating that the 'graves of the new dead'
are less planned and these deaths occur too frequently for a respectful and recorded burial.
4. Discuss the implication of the last two lines of the poem. The final couplet begins with 'And"
which indicates that more deaths will continue to scar the 'clear land'. Death is turned into a
metaphor in which the dead are sown and graves rise like crops.
QUESTION & ANSWERS:
1. By referring to the imagery in the poem, discuss the contrast between the old and the
new graves. Refer to at least two images used about each type of grave. The old graves
are 'ranked' which shows there is order. They have stones and some are tended and
have flowers. The new graves are packed together, and at best, marked with a cross, and
some not marked at all. The emphasis here is on the number 'file on file'.
2. Lines 12 – 13: Discuss how the speaker shows the number of newly dead in these
lines. 'All around them' reveals there are many graves and 'file on file' suggests they are
packed together with no space between them, so they are numerous.
3. Explain how the words 'new dead' could have more than one meaning. 'New dead'
means the people who have died recently but could also suggest the people who have
died are young – they are new.
4. Line 16: The speaker refers to the graves as 'pits'. Why do you think he has chosen this
word? A pit is a negative word associated with burying waste and even pit latrines. He is
suggesting the dead are just being dumped without the respect that should be
associated with death.
5. Why do you think the rhythm speeds up in lines 12 – 16? The rhythm speeds up as the
speaker describes how the number of graves being dug is increasing.
6. Do you agree with our interpretation of the couplet at the end in which we suggest
the poem is about the cycle of life and that death is only part of the cycle? Explain
your answer by referring to the text. You can agree or disagree, i.e. NO – the whole
poem deals with an increasing number of deaths and the couplet starting with 'and'
suggests this is just going to continue. The clear land will just be more scarred. YES – the
couplet used positive language associated with growth, 'fields', 'clear land', 'cultivated'.
So, death is not seen in a negative light but as simply part of the cycle of life. The repeat
of 'he said' suggests that from the air he gained an insight.
WHAT IS THE POEM ABOUT? Describes a scene in an
overloaded taxi carrying paying passengers. They pay
a fare to a 'cool' young man who returns their change
and insists they pay their fairs as the fuel is very
expensive and bought illegally.
TITLE: 'The ride' focusses on the experience of
travelling on a taxi but it also points to 'being taken for
a ride', or being ripped off by a corrupt system that
does nothing to protect passengers from exploitation
by those out to do nothing but make a quick buck.
FORM/STRUCTURE OF THE POEM: it consists of ten
lines and has no pattern or RHYTHM or RHYME. This is
a descriptive poem that comments on the life of the
people of Zimbabwe. It is a brief, vivid snapshot, but
the
words
used
often
have
unpleasant
CONNOTATIONS and the poem is sharply critical. The
language has the simplicity of everyday speech and
relies on multiple meanings of words for effect.
ENJAMBMENT: Helps to set a fast pace and sense of a
chaotic and busy taxi ride.
TYPOGRAPHY: L 5 'through and open window' hanging from an open window - reminds us of
something dangling over the edge.
TONE: Sharply critical TEMPO: Fast pace
There are two instances of ALLITERATION in L 9 “Please
pay” and L 9 & L 10 “fare … fuel from”. The sounds add to
the sense that these words are being said out loud,
enunciated carefully so that all passengers can hear.
The ride
by Joyce Chigiya (1960-, Zimbabwe)
1 A relay of notes in untidy piles
2 is played back to front
3 the partially displaced tout
4 bending his jean-clad butt
5 through an open window
6 holds on tight lest he be puked
7 by this bursting vehicle
8 as he relays back change
9
Please pay the fare, we buy fuel
10
from the black market
'relay' – passing something along from one
person to another.
'tout' – is a person who tries to get business
persistently and annoyingly, like a person selling
tickets.
'clad' – clothed.
'lest' – in case; for fear that.
'black market' illegal trade, especially goods such
as money, fuel and weapons. In SA Rhino horn,
Pangolins and Lion body parts etc.
STYLISTIC DEVICES
SUGGESTION: L 1 'piles' – weak currency / 'notes' – music
being played / 'relay' money used as a baton in a relay race &
taxi moving from stop to stop / L 2 'played' – a game, like
Monopoly.
IRONIC: L 10 'black market' – fuel is bought illegally and
cheap, that makes the request to pay ironic and humorous.
FIGURE OF SPEECH
PERSONIFICATION: L 6 – the full,
cramped taxi is personified as a
sickening stomach about to vomit.
The poem is almost a METAPHOR for
the political situation that exists in
Zimbabwe. This is a very clever poem
in that almost every word the poet
uses can be interpreted in multiple
ways.
ANALYSIS: The focus when reading the poem should be on the interesting
play on words used throughout. On the face of it, it appears so simple, yet
careful reading shows the value of poetry. It demands that we think on
multiple levels, and when we do that our insight and appreciation of
language is extended.
LINES 1 – 2: The money, and it is all paper notes, is the opening image in
the poem. The notes are passed hand to hand to the 'tout' at the front. The
money is described as 'piles' suggesting that the Zimbabwean currency is
extremely weak and piles of notes are required to buy anything. 'Notes'
playing backwards, and forwards also suggests music being 'played' in the
taxi. 'Relay' is an interesting word to use here as it suggests the taxi moving
from stop to stop as well as the fact that the money was like a baton used in
a relay race. The use of many different meanings of words is a feature of
this poem. The word 'played' suggests a game, like Monopoly. The TONE
here is critical on the whole system. This bus is overcrowded, the money has
little value, it is being paid from the 'back to the front'. There is also a PLAY
on the words 'back to front'. Everything is back to front and wrong.
LINES 3 – 5: The tout sits in the window collecting the money. The taxi is so full that
he is 'displaced' from his seat – he is hanging from an open window. 'Butt' is
disparaging and critical and no doubt the man's jeans are very tight. It is an
uncomfortable scene. Note the TYPOGRAPHY of the line 'open window' that
reminds us of something dangling over the edge.
LINES 6 – 8: The speaker uses the slang word 'puke' deliberately because to 'puke'
is disgusting. The bus is like a huge, overfed creature that can vomit people out of
its doors and windows. Note the word 'bursting' – it is filled beyond capacity with
passengers and sound and movement. The relay IMAGE is continued as the tout
relays the change from the front to back this time. He cannot move.
LINES 9 – 10: The poet places these two line in Italics to highlight the plea and her
comment on the situation in Zimbabwe. It is DIRECT SPEECH. The definition of the
'black market' is an illegal trade in officially controlled or scarce goods. Fuel is a
controlled commodity and should be bought from recognised dealers but the
economic situation in Zimbabwe has been so dire for so long that the only way to
get fuel is illegally, which indicates the level of breakdown and corruption in the
country. Anything bought on the black market is also outrageously expensive.
'Black market' is also a PLAY on words as the black market (the passengers) pay for
the fuel. They pay very high fairs and are short-changed.
SUMMARY:
'The ride' makes use of DICTION to create a PLAY ON MEANINGS and in this way creates a
LITERAL and FIGURATIVE INTERPRETATION of the ride in the taxi. 'The ride' itself can REFER
to the journey and associated conditions in the taxi, but also has negative CONNOTATIONS
of being 'taken for a ride'. In this sense, the reader can believe that the speaker is being
cheated and deceived. The speaker pays a fare for the taxi ride in the hope of arriving at
the destination comfortably and safely, but this is not necessarily the case as is seen from
the sense of chaos that is created through 'untidy piles', 'back to front' and 'partially
displaced'.
Similarly, the 'black market' can have more than one MEANING. The cultural group
commonly identified with making use of the taxi services described in the poem is black
people. However the 'black market' is also a term used for illegal activities, including illegal
trade of fuel. The speaker could therefore be hinting at illegalities which drive the taxi
industry. The concluding lines of the poem come in the form of a plea. This could suggest
the desperation of the taxi driver and his tout to reach a fare target in order to 'relay' some
of his fare to those 'black marketers' who hold the real power and control over the taxi
industry. The commuters are dependent on the taxi drivers and pay the demanded fare,
regardless of the conditions and the fairness of this fare. The taxi drivers and touts are
similarly dependent on those who control the fares, routes, taxis and personnel, and are
indebted to them.
1. Outline the description of the taxi ride using textural detail to support your answer.
The taxi has many rows of seats as money is passed 'back to front', it is hot and has an 'open
window', the driving is not smooth as the passenger 'holds on tight' and it is full or
'bursting'.
2. Identify and explain the figure of speech in 'lest he be puked/by this bursting vehicle'.
This personification describes how full and uncomfortable the 'bursting vehicle' is. Any
sudden movement could cause a passenger to 'be puked' out which shows how hot and
nauseous the passengers feel. This is a vivid image of discomfort and creates an unpleasant
image.
3. Discuss the effectiveness of the concluding statement that is written in italics.
The concluding statement is ambiguous. The 'black market' could mean that fuel is bought
illegally and cheaply, making the request to pay humorous and ironic. It could also mean
that fuel is bought from garages owned by black enterprise so the money received from
black passengers, given to black taxi operators, is sustaining the black community.
QUESTION & ANSWERS:
1. Line 2: 'played back to front'. Explain the literal and figurative meaning of these words.
'notes played back to front' literally means the money in notes is passed from the
passengers in the back to the tout in the front. However, it also suggests music (notes)
that is often played loudly filling the taxi with sound from back to front.
2. Lines 3-5: What impression is created of the tout in these lines? The tout's role is
difficult as there is no room for him in the taxi 'partially displaced' and he manages his
job form half out of the window. He must be desperate for a job to work under such
circumstances.
3. What is the effect of the word 'puke' in line 7? It suggests the discomfort of being
trapped in a vehicle that is full to bursting. Food is 'puked' because it is rejected by the
body just as the tout is rejected by the overcrowded taxi.
4. Why do you think lines 9 and 10 are written in italics? It is direct speech, so the italics
distinguish it from the rest of the poem which is not. It distinguishes this central
message of the poem, form the rest, which is descriptive.
5. What examples of a black market can you think of in South Africa? South Africa has an
extensive black market. Imitation branded clothing and goods, sunglasses and cosmetics
come to mind and illicit cigarettes.
6. Why is tout a more suitable word in this poem than a ticket collector? 'Ticket collector'
suggests someone on a bus in a uniform with actual tickets in an ordered setting. A tout
harasses people which is an accurate description in this setting.
7. What effect has the poet created by using run-on lines in this poem? The run-on lines
capture the chaotic nature of the taxi which lacks order entirely.
Source: thepanda.co.za - Zapiro