Anthem for Doomed Youth – Wilfred Owen.

‘Anthem for Doomed Youth’ by Wilfred Owen is a lyric poem which is written for the young soldiers who were slaughtered during the war. This poem is written in the format of the sonnet, however Owen deliberately misused the sonnet this highlights the fact that he is angry and resenting against the idea of the lack of Christian funerals that these soldiers are getting. Owen uses ABABCDCDEFFEGG as his rhyme scheme which combines both the rhyme scheme of the Petrarchen and Elizabethan sonnet to enhance his effect, he also includes half rhyme and full rhyme. There is an octet (8 lines) and a sestet (6 lines). The octet is dominated by the sound of battle; the sestet is characterised by muted grief.

Firstly, the title of the poem “Anthem for Doomed Youth” gives the reader the impression that the poem is almost a musical anthem due to “Anthem” being included within the title. However, the poet lures the reader into a battlefield where we almost hear the sounds of war (the alliteration sounding like guns) as opposed to the music of a funeral or memorial service. Owen includes a typical technique of his in the title, assonance, “doomed youth” he repeats the vowel sound which gives the title an ominous tone and also reiterating that the youth are doomed.

This poem opens with a question which he later answers throughout the poem: “What passing bells for these who die as cattle?” This question asks what sign/signal will be sounded to mark the deaths of the soldiers. By comparing the soldiers to “cattle” leaves connotations of slaughter – he is appalled and hurt by the inhumane deaths these soldiers are facing as they are not getting the traditional “passing-bells”.

He moves on to stating what these soldiers get instead of a “passing-bell”: “Only the monstrous anger of the guns. / Only the stuttering rifles’ rapid rattle / Can patter out their hasty orisons.”  The “anger of the guns” highlights the anger of the soldier being transferred to the weapons which creates a metaphorical approach that personifies the weapons as being monstrously angry. Furthermore, in the last two lines alliteration and onomatopoeia (two techniques which Owen uses a lot in his poetry) are used to create the effect of the guns being harsh and repetitive. For example the ‘t’ sound: “stuttering”, “rattle” and “patter”.  Also the ‘r’ sound: “rifles’ rapid rattle”. This is saying that the personified guns are killing these men, this answers Owen’s question at the very start of the poem instead of the sounds of bells these soldiers are only having the sounds of sudden, harsh and repetitive bullets.

Owen moves on to write: “No mockeries now for them; no prayers or bells: / Nor any voice of mourning save the choirs – / The shrill demented choirs of wailing shells: / And bugles calling for them from sad shires.” Here Owen juxtaposes the choirs and wailing shells which combines two opposing worlds together. The repetition of “No”, “no” and “nor” makes it direct and simple emphasising what these soldiers do not have. Owen describes the shells as “wailing” which shows them in pain, crying and lamenting; this is onomatopoeia. Moreover, the lack of religious response to the deaths of the soldiers is referenced as they view their bells and funerals as nothing but “mockeries”. 

In his second part of the poem he begins with another question as he has previously answered the latter: “What candles may be held to speed them all? / Not in the hands of boys but in their eyes / Shall shine the holy glimmers of goodbyes.” This indicates a shift in the focus of the poem (also the rhyme scheme). Owen uses the burning light of the candles as a metaphor for their lives; instead of the candles being used to send them to the afterlife the soldiers now only have the last flicker of light in each other’s eyes which “Shall shine the holy glimmers of goodbyes.”

In the final three lines Owen reflects upon the grieving: “The pallor of girls’ brows shall be their pall; / Their flowers the tenderness of patient minds, / And each slow dusk a drawing down of blinds.” He reflects upon what the soldiers shall miss out on – no pall/sheet/flag/flowers on their coffin and perhaps not even a proper burial, instead grief of girls and families at home.  However, in the final line there is alliteration “And each slow dusk a drawing down of blinds.” The alliteration almost evokes an atmosphere of dull stillness. The final line symbolises the families at home who will draw their blinds after the death of their loved one and also a metaphorical approach of the blinds being drawn on the soldiers lives.

Overall, the poem communicates both sorrow and horror which both himself and others experienced during war. Young men who should have lived died in the chaos of battle which includes his common theme of ‘wasted youth’; those who lost dear ones were not present at the deaths or burials. Unfortunately, replacing usual funeral rites was the sounds of battle and distant grief to mark their deaths. Throughout the poem, Owen incorporated the imagery to evoke the sorrow and horror of war. He compares a respectful funeral to the harsh reality of the fatality in war and by questioning religious approaches to provide comfort in the face of such a harsh reality.

 

Meanings:

• Passing-bells: A tradition in England which dates back many centuries is to ring a bell when a person was dying. Those who heard it would pray that this person’s soul would pass to the light of heaven when he/she died. Today, churches continue this tradition at funerals. 
• Patter out: Mumble or sing out.
• Orisons: Prayers/Funeral songs.
• Mockeries: No insincere funeral rites.
• Bugles: A brass instrument like a small trumpet, typically without valves or keys and used for military signals.
• Pallor: (paleness) on the faces of girls.
• Pall: The cloth, usually black, covering the coffin at a funeral.
• Drawing-down of blinds: This phrase allows the reader to vision some of the suffering which the loved ones  feel after the burial of a soldier.

Gothic Literature and the difference between ‘Tragic’ and ‘Tragedy’

Gothic Literature

Gothic literature is a genre of fiction which was popular in the 18th century to the very early 19th century which includes an atmosphere of horror and mystery.

There are many elements throughout the novel which can be defined as Gothic. One of the characters, Lord Henry, has been described by many as a devilish figure due to the fact he manipulates Dorian and treats him as though he is his possession this is a key concept of typical Gothic literature. The whole ideology of the picture changing and Dorian staying perfectly youthful gives the novel a supernatural element and thus is another point why this novel is deemed as Gothic.

 

Classical examples of Gothic novels: Frankenstein – Mary Shelly, Dracula – Bram Stoker and The Strange Case of Dr Jekyll and Mr Hyde – Robert Louis Stevenson.  

Tragedy

A ‘Tragedy’ is the dealing with tragic events and having an unhappy ending, mostly which concerns the downfall of the protagonist. In this explored in ‘The Picture of Dorian Gray’ when Dorian (the protagonist) acknowledges the terrible situations he has caused by his own actions e.g. killing his dearest friend Basil Hallward. This is also reflected at the end of the novel when Dorian retaliates and stabs the painting using the same knife that has killed Basil Hallward.

Popular tragedies: Romeo and Juliet and The Great Gatsby.

Tragic

Tragic is when something is defined as being troublesome or indeed calamitous. An example of this could be the death of Dorian Gray as this was indeed a tragic ending to the novel as a whole and thus states that the novels genre is indeed a tragedy because it could have had a different ending if Dorian had reacted differently to the manipulation from Lord Henry. Before Dorian knew Lord Henry Wilde describes him as young and having a “beautiful nature”. This highlights how tragic this event was as the painting had became him and therefore by destroying this he is in fact destroying himself.

‘The Help’ and ‘Mansfield Park’ themes.

Both ‘The Help’ by Kathryn Stockett and ‘Mansfield Park’ by Jane Austen include similar themes throughout their novels these include ‘Gender’, ‘The Home’, ‘Love’, and most importantly ‘Society and Class’. I have looked on numerous websites for information and other interpretations for these themes all of which I shall reference at the bottom if you wish to read more into them.

In ‘The Help’ the theme of ‘Gender’ is not as important as it is in Mansfield Park. However, the theme of ‘Gender’ is explored through different races. ‘The Help’ explores the rules of governing gender in a Mississippi town in the early 1960’s. The white women are valued in society mainly due to the fact they are able to produce children who are loved and cared for by the black women “Oh, we’re gonna have some kids. […] I mean, kids is the only thing worth living for.” . Unfortunately there are lack of jobs available for both races however Skeeter, Aibileen and Minny dare to challenge this statement. In comparison, Jane Austen includes the theme of ‘Gender’ through marriage. As well as ‘The Help’ women are mainly valued to to their ability to produce children, however as well as this it is considered their duty to marry and the only choice most women have is to say “yes” or “no” when a man proposes to them. If it is a man of a higher status than what the woman was born into it was never heard of the woman to reply “no” which is why it is a shock when Fanny Price rejects her marriage proposal.

‘The Help’ also includes the theme of ‘The Home’ which gives the reader the chance to explore each characters privet lives. The white women are expected not to work – neither in nor out of their homes. Black women however, are expected to work only in the homes of these white women performing jobs such as caring for their children and cooking their meals. Another part of this theme is the difference between the black women’s homes and the white women’s homes. The maids in the novel take pride in their work and their own home whilst the white women only take pride in their appearance as they leave the maids to take care of their children and their home. In ‘Mansfield Park’ this theme plays a huge part in the novel. The homes of the characters in this story represent their characteristics as Lord Bertram’s home of ‘Mansfield Park’ reflects his social class and status as does the Price household. Home can change when people move to new homes and change when people refurnish however, for the characters here in the novel home is memories, familiarity and habit and most important reflect who they are. For some of the characters their home is tied to their wealth. However, this is the case for both novels.

The theme of ‘Love’ is also noted throughout both novels. ‘The Help’ explores the theme of ‘Love’ when trying to conquer the feeling of racial hate towards the blacks. The novel as a whole is about trying to counteract the hate and irrationality through acts of love and courage. The characters do this by the means of writing the novel through the story telling, the close relationships, interviews and team work. They get through these times by never giving up their faith and more importantly not giving up on each other. “The more I look, the more I start to understand what’s going on here. I don’t know why I’m just now getting this. Minny made us put that pie story in to protect us. Not to protect herself, but to protect me and the other maids.” Throughout Mansfield Park the characters are constantly falling in love and causing a lot of confusion which therefore challenges characters’ attitudes and preconceptions. Many of the characters throughout the novel fall for people who don’t exactly love them back, they try to love people who they can’t, and they try to fall out of love with people and fail. This therefore makes this theme a very complex theme throughout the novel.

Finally and more importantly, the theme of social class. Both Stockett and Austen explore this theme in great detail when they include many of the different social classes and their attitudes to the other classes. Where Stockett writes about the inner workings of a segregated society against the backdrop of the Civil Rights Movement in the 1960’s America, Austen writes about a huge drastic change in society where everything was changing and improving for both the upper and middle class (The Industrial Revolution).

References for more information:

• http://www.shmoop.com/the-help/
• http://www.shmoop.com/mansfield-park/
• http://www.gradesaver.com/mansfield-park/study-guide/major-theme/
• http://acriticalreviewofthehelp.wordpress.com/for-students/themes/

NOVEL vs MOVIE.

On the surface, ‘The Help’ is a story about civil rights. However, it is also a story of friendship. ‘The Help’ follows the story of two black maids, Aibileen and Minny; Miss Skeeter, an aspiring writer and their friends and families in Jackson, Mississippi 1962.

Miss Skeeter’s family have had a coloured maid throughout her entire life, as have most white families in the area during this particular time. This is deemed as normal and does not strike Skeeter as strange until she one day she returns from university to discover her maid has ‘quit’. She can sense that there is more to the tale as it is out of character for Constantine, her maid, to just vanish without so much as a letter of explanation – but her mother still insists that she just quit and left to go and live with her daughter. It is this event that causes Skeeter to see things in an entire different light and she is suddenly very aware of the injustice and suffering that these maids endure daily. They can raise the child of a white woman, but can’t use the same toilet (?).

However, usually when a phenomenal book is turned into a movie, it’s terrible and the director doesn’t do the characters justice. However, what we must remember is the film is just an interpretation of the novel. Here the film version by Tate Taylor in my opinion doesn’t do the book justice, but it isn’t terrible. There are many details throughout the book which the director hasn’t took notice of whilst creating this film adaptation. I am now going to compare and contrast both the novel and book below.

Comparisons:

The movie does an excellent job of portraying the deep love between Minny and Aibileen just like  the book does. Not to mention, Minny’s attitude it is perfectly portrayed throughout the film.

Also, when reading the book the only person I could believe embodied the character they were suppose to play was Bryce Dallas Howard as Hilly Holbrook. I believe she acted just as the character Hilly Holbrook would have in terms of her manipulative attitude and how devilish she acts. In fact she was that good I hated her character just as much as I hated her throughout the novel. In addition, I must state that I enjoyed the role of Jessica Chastain who played Celia Foote as she expressed the quirkiness just as the novel did.

Contrasts:

In the novel, Skeeter is described as big and tall. However, in the film adaptation Emma Stone, who  plays Skeeter in the movie is 5’4″ and slim which is a huge dramatic contrast and doesn’t fit the  character of Skeeter in my opinion. Also in the novel it is Aibileen who tells Skeeter the truth about  Constantine, in the film adaptation it is in fact Skeeter’s mother who tells her the truth.

However, apart from missing the crucial details the film does in fact present some contrasts that  almost make it seem childlike. For example the colours, most colours throughout the film adaptation  seem to be bright and yellow which make it seem more like a happy film, when realistically it is not.  On the other hand, even the colour of the book is a more murky colour and is the complete opposite  to bright yellow. As well as the colour yellow throughout the film (on the bus, posters etc) there is also a lot of sunshine which to me gives the film a comical feel when realistically it is a serious issue.

A more important contrast between novel and film is that the novel focuses on the class of the time whereas the film mainly focuses on individual characters because it is initially for entertainment purposes only. Lack of attention to detail is also presented when the film includes Constantine’s daughter. Constantine’s daughter in the novel was called ‘ Lulabelle’, who was born looking white. However, in the film adaptation she is coloured and is named ‘Rachel’. By making her African American I feel that they missed the whole point of the scene caused by Skeeter’s mother.

In addition, some of the plot points throughout the movies are slightly out of order; others are slightly different. For example, when Minny works for Celia Foote she miscarries her fourth child. In the novel, Minny is unaware that Celia was even pregnant, which then leaves the miscarriage as a complete shock. It does remain shocking on screen too, however, Celia does tell Minny she’s pregnant when she first hires her, which steals away the slight surprise from the end.

Finally, Kathryn Stockett wrote an essay at the end of the book, “Wasn’t that the point of this book? For women to realize, We are just two people.  Not that much separates us.  Not nearly as much as I’d thought.” As a whole this has opened my mind with the fact that these “barriers” we make really are ours to tear down. Not just racial barriers, but any barrier that separates a person from a person because like Aibileen’s story separation isn’t much when we just look so similar. Although there are many difference between both novel and movie, both adaptations of the story do initially highlight this message.

UPDATED. Dorian Gray chapter 1-2 summary.

Chapter 1:

The novel begins in the home of Basil Hallward, of whom is a well-known artist. He decides to discuss his latest piece of artwork with his friend Lord Henry. Lord Henry admires his friends art work and suggests to the artist that he should exhibit the masterpiece. Whilst admiring the art work Lord Henry presses further about why Basil Hallward refuses to exhibit this painting. Basil Hallward then discusses Dorian Gray. Dorian Gray, has now become an obsession for the painter due to his youth being an inspiration for his artwork. 

Lord Henry then, finally, recalls the name Dorian Gray. He had heard of him through his aunt. After some time Dorian Gray arrives and Basil orders Dorian to wait a few moments and warns Lord Henry that Dorian is his best friend and for him to not “influence” him, however Lord Henry took no notice.

Chapter 2:

Basil introduces both of his friends to one-another, whilst Dorian Gray proves everything to Lord Henry of how dashing he looked on the picture. Dorian then begs Lord Henry to stay whilst he sits for Basil. Basil does the right thing and warns Dorian of how much of a bad influence Lord Henry actually is, however Dorian just seems intrigued by this idea and thus does not take him seriously. Lord Henry then agrees to sit and talk to Dorian whilst he sits.

Meanwhile whilst Basil is silent and in his element, Dorian requests a break and Basil allows him whilst he finishes off. Lord Henry decides to escort Dorian out into the garden for some fresh air. This is where he praises his beauty, and youth and states that he should cherish this as it is his most important quality and soon it shall go.

Basil then calls the men inside. Dorian sits some more whilst Basil makes the final touches to his masterpiece. When done Lord Henry sates that the picture in fact a masterpiece. However, Dorian remembers the warning about him loosing his youth and beauty and wishes that it “were only the other way”. Dorian seems upset and consequently Basil states that he will destroy it as he does not want the picture to ruin their friendship however Dorian objects and states that he loves it. Basil then promises to hand this portrait as a gift to Dorian. Finally, both Lord Henry and Dorian leave to have planned to go to the theatre together, whilst ignoring Basil’s objection.

Overview/My analysis.

Whilst reading the first two chapters of the novel it has become clear that Oscar Wilde includes the use of details to enhance his writing. However, on the first page he begins to describe the surroundings of the Basil’s studio by even commenting on “the rich odor of roses” and “the light summer wind” that “stirred amidst the trees of the garden.” These vivid details help the reader to picture the setting with use of all their senses. Throughout this section there are many references to Greek mythology. One of which states “Why, my dear Basil, he is a Narcissus and you – well, of course you have an intellectual expression and all that.” This is implying that Dorian Gray is in fact as beautiful as the Greek Narcissus was. Many other references to mythology are noted throughout.

Throughout there is a large number of emphasis on nature. The Descriptions of nature are used to show a pause in the conversation or to create dramatic tension. Nature is used in one point as a “place holder” when Dorian enters the garden after his conversation with Lord Henry. “Lord Henry went out to the garden and found Dorian Gray burying his face in the great cool lilac blossoms, feverishly drinking in their perfume as if it had been wine.” This quote shows Oscar Wilde’s clever use of the descriptions of nature to highlight to the reader the present emotions of the characters.

However,  Lord Henry as a character appears to be a manipulator as he tends to interfere in others lives. For example, when talking to Basil he was telling him that those who are “ugly” are the lucky ones in life. However in contrast, when talking with Dorian he states that beauty is all that matters. He appears to be either trying to separate both Dorian and Basil. or he just enjoys being the cause of people going through emotional confusion and then watching the consequences. It is thereby noted that Lord Henry might become a huge dramatic source of conflict in the future.

Among School Children – W.B Yeats.

‘Among School Children’ by W.B Yeats was published in 1928 in the collection ‘The Tower’. Being among school children, Yeats confronts the problem of human frailty, by reflecting on the impact and the worth of his life. The poem is a first person narrative, with a conversational tone. Throughout he compares Maud Gonne’s current appearance to her physical appearance in her youth, this is where he realises how time effects the physical being. This poem has roman numerals which number each stanza – highlighting formality.

The poem begins by Yeats walking “through the long schoolroom”, which metaphorically could reflect the school of life. He then uses the verb “questioning;” to highlight that he is questioning are lessons really relevant to life?  However, amongst youth itself, Yeats notices his age and therefore perceives himself as a “sixty-year-old smiling public man”. He desires to know whether his education is similar to the children, who now learn in the “best modern way”. While he questions whether lessons that are being taught are really relevant to life he learns that they “learn to cipher and to sing, to study reading-books and histories”. This is where Yeats understands that life’s true lessons are not from the classroom as learning to “be neat in everything” is ironic and unrealistic.

Whilst observing the innocent children he begins to visualise imagines of the “Ledaean body”. He envisions this “trivial event that changed some childish day to tragedy” and also strategically uses line eleven for the first alteration in meter which is parallel to the change in Leda’s life from innocence to knowledge. Yeats realises through this example that these children, like Leda, will soon be stripped of their innocence and purity. From this event, Leda gives birth to Helen of Troy who is thought of as the most beautiful woman on earth. Yeats then makes a comparison between Helen of Troy and Maud Gonne. He pictures them both as being together just like the “yolk and white of the one shell.”

Throughout the third stanza Yeats has finished envisioning the two women together and therefore searches through the children wondering whether he can see a likeness to Gonne where he states “Wonder is she stood so at that age.” He then moves on to describe Gonne’s beauty “even the daughters of the swan can share something of every paddler’s heritage.” He slips deeper and deeper into his imagination, so deep that “she stands before me as a living child.” The thought of Gonne’s purity and innocence hypnotizes Yeats. The only way Yeats can express the beauty is to express it poetically hence the song-like rhyme scheme of the stanza.

In the fourth stanza he understands that his portrayal of Gonne is not a reality and therefore “her present image floats into the mind.” He compares her cheeks to the wind. The image of wind has a double meaning, as the brevity of the wind symbolizes the brevity of life. Yeats comes to realise that he too, like Gonne, is ageing when he writes “had a pretty plumage once”. When he wants to hide his sudden realisation of morality he uses a metaphoric mask of an “old scarecrow” which allows Yeats to conceal his true feelings and thoughts.

In the fifth stanza there is an odd number of feet in line thirty-three, Yeats makes the fundamental shift in the poem noticeable which therefore changes from personal to universal. Yeats envisions a “youthful mother” and questions whether a mother would believe that the pains of childbirth were worth the trouble when the child grows older. Here, Yeats is asking the most fundamental of questions – what is the value of life? By stating that the child has lived “sixty winters” and not years highlights a gloomy winter image which further suggests suffering. The final line of this stanza refers to the mother’s uncertainty about her child’s future.

Throughout the sixth stanza, Yeats looks to the great men of the past for answers to his questions. Firstly, he looks into Plato’s Cave Allegory, with the “ghostly paradigm of things” which shows how Plato thought life was a shadow of reality. He then shows the idiocy of Aristotle’s work saying he has been playing “upon the bottom of a king of kings.” He does the same for Pythagoras’s work and then comes to realise that these men were nothing more than “old clothes upon old sticks to scare a bird.” As a result of his realisation, Yeats realises that although these men have produced lasting works, they themselves cannot be lasting.

The seventh stanza analyses the issue of love and expectation. Yeats uses the example of a mother and a nun to highlight the different types of love – one a mothers and the other religious. Both types of love have their objects/figures to worship. However, like a nun eventually gets the feeling of disappointment with God the mother will feel the same with the child.

Penultimately, in the final verse Yeats realises it is better to view life as a whole instead of viewing life in parts, like “the leaf, the blossom, or the bole.” He uses the final rhetorical question “How can we know the dancer from the dance?” to highlight that it is impossible to separate the two like life and death – which could link to himself and Gonne, or even Gonne and her child self.

Ultimately, the children throughout this poem are seen as poignant. The poem incorprets elements of myth and symbolism (Nuns, Leda..) combined with personal thoughts and memories (Gonne, her child self, life as a whole). He compares wisdom and knowledge and realises they’re different. Through the themes of change, ageing, mythology and reflection Yeats realises that no matter who the man and irrespective of his deeds, death is in fact inevitable.

‘Mansfied Park’ – The theme of Social Class and a Marxist view.

During the time this novel was written the wars and other international troubles and the hardship at home did not impinge a great deal upon the everyday lives of country gentlemen and their families, although the wages fell drastically for agricultural workers. Fortunes were made and lost and there might have been less dramatic financial tightness for some, for example like those experienced by Sir Thomas Bertram, who seemed to find himself more dependent than usual on his income from Antigua.

Throughout the novel there is a principle theme of class. This is noticed from the very beginning, where the three Ward sisters marry three into three different social classes: Maria Ward who marries Sir Thomas Bertram the baronet, and then represents the upper class. Mrs Norris who marries the secretary of the Anglican Church, which then makes her middle class. Then finally, Mrs Price who marries a sailor who then becomes drunkard and out of work which then makes her of working class which therefore makes Miss Fanny Price working class too which is why in Mansfield Park she is treated differently than the Bertram’s, Crawfords and Mrs Norris.

As Jane Austen used a omniscient narrator, which is a narrator who is able to describe the thoughts as well as the actions of each individual character, we learn what each character feels about the themes throughout the novel for example, with the theme ‘Social Class’ we learn how each individual views this subject:

“The nonsense and folly of people’s stepping out of their rank and trying to appear above themselves makes me think it right to give you a hint, Fanny, now that you are going into company without any of us; and I do beseech and entreat you not to be putting yourself forward, and talking and giving your opinion as if you were one of your cousins.” – Mrs Norris, Chapter 23 

This statement proves that although you’re of a high status it does not necessarily mean you have high morals. Throughout the novel Mrs. Norris’ principle in life seems to be mistreating Fanny with just being as unpleasant as possible. The use of her character throughout the novel gives the common thoughts on social “rank” for the time period.

However, a Marxist reader would respond to the different social classes that are conveyed by the characters in Mansfield Park as a much wider representation of the problems which are going on in Britain during the time, or even now, which regards how people act considering the class system. For instance, in the opening chapter there is evidence of both the middle and upper classes exploiting the working class and attempting to highlight their own moral authority through actions which include being the people who would pay for the upkeep of people. As for ‘looking better’, both the upper and middle class would prove their selfishness and arrogance of which Austen believed they had and therefore wrote about in her novel ‘Mansfield Park’.

The Stolen Child – W.B. Yeats

‘The Stolen Child’ by W.B Yeats was published in one of Yeats’ very first collections of poems, the Crossways collection of 1889 when he was just 24 years old. This poem is said to have been written because Yeats’ brother died young. However, it could be argued that this poem is highlighting Yeats’ desire to escape from the world. The main themes noted throughout this poem are that of the dream world and supernatural, which could be linked to his longing for escape from the world or Ireland. Also, the poem could be viewed as child abduction, (hence the phrase ‘The Stolen Child’ as the title) by the “faeries” who are evil and are luring the child into the world of dreams. Also, plot of the poem is a metaphor for the return to innocence, which is characterised by childhood. The ‘fantasy’ world Yeats creates sharply contrasts with the real world, representing his dissatisfaction with the real world. This poem gives the idea of the common idiom ‘you don’t know what you’ve got until it’s gone’ as the child’s dissatisfaction had lost him his place in the real world as he is now lost in false reality.

This is a poem that is narrated by a supernatural creature of Irish folklore, or faery, who attempts to lure a boy into leaving the human world around him.  Yeats adapts an old Irish tradition where fairies steal human children and replace them with changelings.  The poem utilises this myth and through it develops tension between the two worlds of the poem – the supernatural and the natural which therefore creates the illusion of dreams and the dream of illusion. The poem mentions dreamlike images of this illusion that the faeries have created to attempt to trick the boy into swapping his way into the alien world – this could be alluding to Yeats falling into this system in which he became fascinated with the occult and the afterlife as well as other supernatural worlds.

The final four lines of the first stanza closes in the rhythm and the rhyme of the poem, “To the waters and the wild // with a faery, hand in hand // For the world’s more full of weeping than you can understand” These last four lines of stanza’s one, two and three include irony as they are telling the child that they are in fact saving him from his own terrible world, when realistically they are cheating and deceiving him. This highlights the innocence and naivety the child has and highlights the illusion of dreams, and the dream of illusion. Also, ‘the world is more full of weeping than he can understand.” means that the child is incapable of understanding perhaps the reality of life and because of his innocence is easily lured into false security.

Throughout the third stanza the sibilance conjures up a sense of silliness and mischief. This therefore gives the idea of the faeries setting a trap and breaking the allusion of this dreamlike image for the child. However, this presents a very sinister ending to the poem where the boy unfortunately falls for the allusion of the dream and ends up losing of the warmth of his world – showing how easily a child can sometimes be lost in such dreaming.

However, there is also the warm reassuring imagery at the very beginning of the final verse. This can be seen as an illusion of the dream-like state of this world. The “warm hillside” can be seen as a reassuring image of the warm human world. It could be that Yeats is presenting a contrast between the human and faery world. The boy has been tricked into believing the dream of this world being exactly the same as the human world, however he may see a lake, sea, waterfall, stream and pool as beautiful or enchanting but he does not quite understand that they are no home like his world. Whereas his world may be more full of weeping than he can understand, it is his world.

In the last stanza “you” changes to “he” which sounds more sinister and removed, as if the child is now distant and caught in the faery world. It’s almost mocking the parents as “he” shows how the faeries don’t even know his name, yet it could also show how “he” represents many children.

The poem in itself is an illusion. However, the wonderful lyricism, and the almost enchantment in nature with the words being strong and romantic create a somewhat magical effect which gives the poem a sense of being something that is magical, ancient and different in its own ways. The poem can be seen as almost an excuse, perhaps a comfort for the parents as their child has disappeared, or even died – he has been lured to a negative view of life which is ‘full of weeping’ which also highlights the broken dreams which the child has endured and the ‘faerys’ whether their existence is true or not they have created a better world to lure the child from his world into a horrendous illusion.

In Memory of Eva Gore-Booth and Constance Markiewicz – W.B Yeats.

‘In Memory of Eva Gore-Booth and Constance Markiewicz’ is a poem written by W.B Yeats in 1927 and was later published in 1933. This poem discusses the theme of disillusionment through the ideas that are drawn up for an independent Ireland which has not happened and has a result left the people of Ireland feeling melancholic and left with a dream that they are still hoping to one day become a reality. He writes of his two childhood friends who have fallen victims of time; however, both women as well as many others will of course be left with the dream of a lost Ireland and lost youth which was caught up in the Easter Rising which is described in Yeats’ other poem ‘Easter 1916’.

Constance Markievicz (left) was the very first woman to be elected to the house of commons in the election after world war one. However, she refused to take her seat in parliament. Eva and Constance are both remembered in Yeats’ writing for their beauty and principles and how they are victims of time. Yeats creates a sense of time with the title of the poem “In Memory” in which the past is greater, more noble than Yeats’ present. Constance helped organise the Easter rising and was sentenced to death, but reprieved and was sent to Holloway prison.

When the poem begins it alliterates a dreamy evening “The light of evening, Lissadell”. This alliteration helps show the beauty. Also, throughout the poem there is the tone of memory. Yeats seems to enjoy recalling “pictures of the mind” of the past. Yeats shows that he is constantly thinking of the past, “talk of youth”. Yeats contrasts the ideal past with the women and how they are today – which could link to the way he compares ‘Romantic Ireland’ with current Ireland in ‘September 1913’.

Yeats describes both the women as “beautiful” and we can see that Yeats had great respect for both. Yeats describes a lot of grandure which seems to be associated with them: “silk komonos”, “Great windows”, “gazebo” which highlights that they could have built this new world. The comparison of a ‘gazebo’ attached to a house shows the way that Ireland is attached to Great Britain. He reflects on the old days of the Easter Rising: “Conspiring amongst the ignorant”. This highlights the womens’ political beauty.

Yeats suggests that he believes in some sort of afterlife or supernatural when he says “Dear shadows”, and furthermore once again shows the ignorance of the thoughts of youthful people by saying “now you know it all.” This highlights that they didn’t know or understand much before they died, however, now in death they can have the ultimate knowledge of all.

In the poem, Yeats laments the loss, not only of their physical beauty, but of their spiritual beauty –”Two girls in silk kimonos, both // Beautiful, one a gazelle.” Yeats relates the sisters to Asian/African themes to show how they did not ‘fit in’ to their aristocratic lives: ‘silk kimonos’ and ‘one a gazelle’ illustrate this point, and also shows the elegance of Eva Gore-Booth.

The final line of the poem shows how he played a part in what happened: ‘Bid me strike a match and blow.’ This could either mean: that he should have let them run their course and face the consequences; that it’s a metaphor for violent change; a metaphor for the revolutionary action; that it is a sign to God that man will not accept fate etc . This depends upon whether he is giving the metaphorical match oxygen to burn, or blowing it out. Instead of Yeats leaving us with a physical question, this last phrase still leaves us with a question as to whether he regrets it, and if so what does he regret? Although a match is temporary, it can lead to bigger things that have the potential to destroy.

Throughout this poem overall he includes the themes of time; innocence and beauty, which will be found out and disapproved by time and political fanaticism. It describes Yeats’ frustration at what time has done to beauty and idealism and that it spurs him into defiance and not acceptance. Yeats describes how they are stripped of their beauty by age by writing “autumn shears blossom from the summer’s wreath.” He uses this example of his childhood friends – which gives the effect of it being easier to understand and relate to your very own personal experiences as everyone grows old in time, and unfortunately nobody can prevent this from happening.

The Man and The Echo – W.B Yeats.

‘The Man and the Echo’ was written in 1938, which was just before Yeats’ death. The poem is made up of rhyming couplets to highlight the irony of how different both ‘The Man’ and ‘The Echo’ are.  Throughout this poem Yeats is speaking with a dialogue of his own echo in a mystical place, he is also asking many questions on both life and death. The echo seems to suggest that he gives up, however Yeats disregards negativity in a passionate life of the mind.

The poem is very atmospheric due to the setting. In Yeats’ imagination, he visits “Alt”, a mystical place in Sligo, Ireland. Alt, is a secret place that is never touched by light. However, the poet is seemingly completely alone with his thoughts (hence the echo which is normally brought about when alone) quite cut off from the world. He is experiencing a final reckoning with his soul. Bitter intensity and a simple rhyme conjures an extreme powerful atmosphere.

Yeats uses the symbol of the echo to take his words out of context, to change their meaning and represent the lack of control one has over their words once they have been spoken. Yeats (who is the man) argues against the echo mirroring his frustration at the misinterpretation and  manipulation of his works/poems by others – this links to ‘The Fisherman’ where the great art is beaten down. Also, the difference between both Yeats and the echo highlights the conflict of thoughts he has within himself in the later stages of his life. Lastly, the echo is also a symbol of a gyre and rebirth as it is ultimately a sound created from the previous sound.

The start of the poem describes the “Man”, Yeats, travelling to a very quiet, damp and cold place “broad noon had never lit”. As the poem can come across as haunting, he is haunted by a sense of uncertainty of life, his past and the future as he can initially “never get the answers right”. This also shows self doubt, which is a main theme throughout this poem. Also, the phrase “all that I have said and done” suggests making a confession which could be linked to the fact that Yeats wrote this poem just before he passed, so this could suggest that he is making a confession as he is aware his time left is short. He is noted to “lie awake night after night” up to the point where everything “seems evil until I/ Sleepless would lie down and die.” Which to define it would be either that he feels his death is the only thing that would actually set him free from either the regret and sin in the world or, that his death would end the evil coming of his writing as he is unsure his writing is influencing. The reader is however, unsure whether this is due to insomnia or guilt, our uncertainty mirrors Yeats’ uncertainty here.

Next “certain men the English shot” is referring to the leaders of the Easter Rising; Yeats confused whether or not he made them fight through the words of his play. Also the phrase “that woman’s reeling brain” refers to an actress  by the name of Margot Ruddock; Yeats had an affair with her – perhaps this is why ‘the man’ or Yeats is both making a confession before his death and is having trouble sleeping at night. Yeats yet again questions his influence through his poetry, play and politics and whether they have enabled him to stop the destruction of memories like Coole Park “Could my spoken words have checked/ That whereby a house lay wrecked?”. 

Next, Yeats always disapproved of the use of alcohol or any pain-relief to rid of the pains of life, “drug him to sleep”. This phrase is a reference to man in general as it was Yeats who believed man must bear the toils of life. He also believed that for one to end their life by suicide it is cowardly and will thus give that person no release – this is a complete contrast with An Irish Airman Foresees his Death where the Irishman is seeing his life as “wasted breath”.

Penultimately,  Yeats questions his echo with, “Shall we in this great night rejoice?” This could be questioning God’s existence and also the supernatural. He mentions that he has lost the theme of the subject matter and concludes by stating that everybody should live in the moment by talking about the “hawk” or even the “owl” that is attacking a “stricken rabbit”, which highlights the dramatic message of living life to the fullest. He lastly states that the rabbits “cry distracts [his] thought”.

Many of Yeats’ poems have two voices or two point of views for example ‘Easter 1916’ and ‘September 1913’ due to these poems highlighting both the view of the old revolutionaries  who are “dead and gone” and also those who are in modern Ireland who are not supporting Ireland.