ExpAQA_Ch2PoetryClusters1Char&V_pp29-60_FINAL_Layout 1 28/05/2010 13:15 Page 29 Cluster 1 Character and Voice The poems in this cluster share a focus on people – as individuals in some cases s and in others as character types used to comment on aspects of the human r condition. e Sometimes, as in ‘The Clown Punk’ or ‘The Hunchback in the Park’, we are invited t s to observe a character from an outside perspective. Other poems use the first u person or dramatic monologue to offer a direct insight into a character, for example l ‘Medusa’ or ‘Casehistory: Alison (head injury)’. C Some poets use form and structure to communicate a ‘voice’ – often in surprising y and illuminating ways, as in ‘My Last Duchess’ or ‘Checking Out Me History’. r t e When studying this cluster, it might be useful for students to focus on some of the o following considerations: P • Is there one specific character, or is the poet focusing on a ‘character type’? A What is the poet using this character for – do they represent something about human nature in general? Q A • Whose is the voice? Is there a clear persona or is the poet speaking directly to the reader? Crucially, howis this voice created? What techniquesdoes the e poet use? h t • What is the effectof the voice− does it create irony/ empathy/ pathos? • Consider perspective: from whose point of view is this poem written? Is it firstperson, second personor third personaddress? To whom is the poem delivered? In dramatic monologues there is often a specific ‘audience’, for example. Is the poem set in the moment or is it more reflective? • Why has the poet written this poem? What feelings, attitudesand/or ideasis the poet considering through their presentation of this character? • How does the poet communicate their ideas? What aspects of language, structureand/or formare particularly significant in this poem? Whatliterary techniquesis the poet using to achieve their effects? 2 r e t p a h C © HarperCollins Publishers 2010 Cluster 1: Character and Voice • 29 ExpAQA_Ch2PoetryClusters1Char&V_pp29-60_FINAL_Layout 1 28/05/2010 13:15 Page 30 The Clown Punk Simon Armitage Background and Context ‘The Clown Punk’ comes from the collection Tyrannosaurus Rex Versus the Corduroy Kid(2006), which deals with themes of conflict between different ‘types’ or ‘groups’ of people. This poem is based on a real character and a real event: Armitage has described how this heavily-tattooed figure once leaned towards his car when he was stopped at traffic lights. Figures from the ‘high punk’ era of the late 1970s presented an aggressive, nihilistic attitude towards the establishment in their music as well as their striking physical image. Armitage explores this See page 268 for more image in ‘The Clown Punk’, examining the reaction the punk wishes members of on the punk movement the establishment to have towards his appearance, and combating this with his See page 42 for more on Simon Armitage own ironic view. Juxtaposition of types: The Clown Punk a ‘clown’ is deliberately Full rhyme and repetition of ridiculous and silly, whereas a Driving home through the shonky side of town, ‘town’ draws attention to key punk wishes to be seen as a idea as well as creating a dangerous rebel three times out of ten you’ll see the town clown, humorous tone Simile is used to mock – like a basket of washing that got up Word structurally highlighted makes him sound undignified, and walked, towing a dog on a rope. But to draw attention to the ridiculous change of direction from Stereotypical image creates ridicule to pathos more pathos than threat don’t laugh: every pixel of that man’s skin He is ‘image’ only Enjambment draws attention is shot through with indelible ink; to the expected reaction, as he steps out at the traffic lights, negating the automatic reaction of fear completely think what he’ll look like in thirty years’ time – the deflated face and shrunken scalp Verb suggests a poorly still daubed with the sad tattoos of high punk. executed painting Play on word ‘sad’ creates You kids in the back seat who wince and scream both pathos and criticism: he Use of imperative verb is pathetic as well as tragic when he slathers his daft mush on the windscreen, ‘picture’ highlights the power of the imagination: that Colloquial, informal language children can create images of to provoke laughter rather remember the clown punk with his dyed brain, their own to combat their fear than fear and lighten the tone then picture windscreen wipers, and let it rain. in order to reassure the children whom the poem addresses Imperatives instruct children how to wash away his image GLOSSARY shonky–dilapidated, run down 30 • Chapter 2 Moon on the Tides:the AQA Poetry Clusters © HarperCollins Publishers 2010 ExpAQA_Ch2PoetryClusters1Char&V_pp29-60_FINAL_Layout 1 28/05/2010 13:15 Page 31 ! Themes and Ideas (AO1) Targeting C In this poem the ‘voice’ is the poet’s own. The ‘character’ is the punk, a How does Armitage want local figure in Armitage’s home town. The register is relaxed and informal, the reader to feel about the presenting the event and the feelings it provokes through colloquialisms and clown? Students could everyday language. consider whether he wants us to pity or mock him. The punk movement was arguably one of the most significant periods in modern musical culture, strongly linked to rebellion against the established ! middle-class culture of the 1970s. The punk of this poem appears to conform Targeting A/A* to expectation in terms of his behaviour: he ‘slathers his daft mush on the How does Armitage subtly windscreen’ presumably with the intention to shock and frighten. He is an convey to the reader his outsider – not only to the car but also to established society. attitudes to the clown punk? Ask students to Yet the title of the poem brings together two equally visually striking figures: consider use of irony the clown and the punk. Armitage uses a simile to suggest that the punk is a and subtext. figure to be subtly mocked (‘like a basket of washing that got up and walked’). He assumes that we will immediately laugh and, instead, describes a rather pathetic image of the man as he ages, looking ridiculous with his ‘deflated face and shrunken scalp’. He seems to be suggesting that we ought to pity rather than mock him, although there is a more subtle sense that both these reactions are being fostered as a way of combating the children’s immediate sense of fear – the reaction that of course the punk wants us to have. The reference to ‘dyed brain’ suggests that the man’s choice of visual persona goes much deeper than the surface image. There is pathos in the fact that the image the punk has chosen to display to the world is indelible and therefore impossible to change. The final couplet possibly offers some redemption to the punk himself – as if his persona can be wiped away. Key Points about Language, Structure and Form (AO2) Compares with… • The semantic field of image creation,created by ‘pixel’, ‘ink’, ‘daubed’, ‘Give’ and ‘The ‘dyed’ and ‘picture’, perhaps suggests that this figure is more ‘image’ than Hunchback in the Park’– outsiders ‘reality’ – his ‘image’, which is a fundamental aspect of the persona he presents to the outside world, is in reality nothing more substantial than ‘On a Portrait of a Deaf Man’ and ‘The a ‘picture’. It is a creation. Hunchback in the Park’– • Second person addresstowards a general audience at first, although perspective and point of view towards the end of the poem Armitage speaks directly to the children who ‘Medusa’, ‘The River are frightened of this character. His ironic mockery of the punk’s attempt God’ and ‘Ozymandias’– powerful characters to shock is possibly designed to combat their fear, thereby diminishing the punk’s power. The use of imperativesin the final couplet guides the reader’s reaction as well as the children in the back of the car. • Form and structure:Armitage plays subtly with this, creating some sound patterns with assonance and consonance (‘skin/ink’ and ‘scalp/punk’). The only full rhymes are at the very start and end of the poem (‘town/clown’ and ‘brain/rain’). These rhymes encapsulate the vignette being described, containing it within a specific moment in time. © HarperCollins Publishers 2010 Cluster 1: Character and Voice • 31 ExpAQA_Ch2PoetryClusters1Char&V_pp29-60_FINAL_Layout 1 28/05/2010 13:15 Page 32 Checking Out Me History John Agard Background and Context John Agard (1949−) was born in Guyana and moved to the UK in 1977. His mixed- race heritage provides thematic material for much of his work: issues of cultural identity, political voice and patriotism are subjects he writes about with passion. In ‘Checking Out Me History’, published in 2007, he employs the Caribbean Creole often used in his performance poetry to present the voice of a young black man angered and disenfranchised by the lack of relevant cultural history in his education. The character, although a persona, resonates with Agard’s personal feelings. Exploring the Poem GLOSSARY Stanza 1 Toussaint 1 introduces refrain ‘Dem tell me’ which implies passivity, being lectured by L’Ouverture– an authority figure leader of the Haitian Revolution of 1797 Stanza 2 Nanny the Maroon– 4−5 refer to attempts by authority figures to blind the persona to his own history leader of the Jamaican and identity Maroons, runaway slaves in the 18th century who Stanza 3 resisted British forces 6 refers to a date from white British history Caribs–ethnic group 7 mention of a children’s story (based on fact) suggesting the equal descended from African irrelevance of both to his cultural identity slaves and Amerindians, they resisted but were Stanza 4 eventually displaced 10−21 italicised story of Toussaint L’Ouverture stresses its relevance from the Caribbean by 18 metaphor suggests danger and threat European forces in the 20 ‘beacon’ suggests symbol, light, danger, guide 19th century Arawaks– West Indian Stanza 5 people, treated so harshly 22−25 increasingly fictional quality to the ‘history’ by the Spanish in the 15th and 16th centuries Stanza 6 that the entire population 26−31 metaphors to describe power, illumination and strength of 60,000 was wiped out Shaka the Zulu– Stanza 7 most famous, influential 32−35 contrast of figures from white European and black history Zulu leader and warrior Mary Seacole– Stanza 9 Jamaican heroine of 40−49 story of Mary Seacole narrated with lyrical elegance, again with metaphors Crimean War, she paid linked to light (‘healing star’, ‘yellow sunrise’) her own way to the Crimea where she fed, Stanza 10 nursed and cared for 52−53 change of tone marked with ‘but now’ to suggest taking control, and injured British soldiers contrast between past (history) and present. 53 use of ‘identity’ as the final word focuses the reader clearly on the theme of the poem 32 • Chapter 2 Moon on the Tides:the AQA Poetry Clusters © HarperCollins Publishers 2010 ExpAQA_Ch2PoetryClusters1Char&V_pp29-60_FINAL_Layout 1 28/05/2010 13:15 Page 33 ! Themes and Ideas (AO1) Targeting C The opening phrase, ‘Dem tell me’, becomes a repeated refrain. The ‘dem’ Is there a difference in the is an unspecified authoritarian voice – parent, teacher, political body – who, type and form of language through omission, ‘blinds’ the speaker to any wider perspective on political or used to present the white cultural history (specifically, black African and Caribbean). Agard fuses British figures and the black history with fairy tale and nursery rhyme, suggesting they have equal cultural figures? Students could insignificance to him and implying that our sense of cultural identity starts identify and comment on being formed at a very young age. what Agard seems to be suggesting about his Tales of black cultural and political figures are italicised, emphasising their different attitudes towards importance as well as their separateness from the accepted view of history them from the language he taught by the British. The tone of these passages is markedly different also: uses to present them. they have a lyrical, poetic quality and include figurative language perhaps suggesting that the figures have a far greater significance to Agard’s view ! of his cultural heritage. Whereas the rest of the poem is delivered in a Targeting A/A* sing-song style with repeated refrains and matter-of-fact language, these How might Agard’s use passages have a dreamlike tone, using imagery of light and fire to connect of rhythm and repetition the figures linguistically as well as thematically. link to the idea of indoctrination? Students Agard chooses figures who exemplify struggle, rebellion and power, could explore the links demonstrating his desire to assert the voice of black culture. He highlights the between the tone of the dilemma faced by those who have no power to further their political or social poem and the way ideas cause, and therefore have no choice but to rebel. In the last two lines, he joins are presented. this rebellion with the powerful shift from ‘Dem tell me’ to ‘But now I’. The poem does not end with a full stop, indicating that his journey is not over. Key Points about Language, Structure and Form (AO2) • Imagery, particularly metaphorical language,unites Toussaint L’Ouverture, Compares with… Nanny the Maroon and Mary Seacole. Toussaint is described as a ‘beacon’, ‘Singh Song’ – language Nanny as a ‘fire-woman’, Seacole as ‘healing star’ and ‘yellow sunrise’. and cultural identity These images suggest power, vision and leadership. ‘Casehistory: Alison’ and ‘On a Portrait of a Deaf • Rhyme is used for specific effect within a free-verse poem, drawing Man’– sense of identity attention to particular ideas, images and feelings. In lines 40−45 the full rhymes of go/no/snow highlight Mary Seacole’s defiant attitude, foreshadowing Agard’s own defiance in the final stanza. • Agard also plays with rhythm. Using a refrain creates a mounting accusatory tone with ‘dem tell me’. The ‘story’ of Toussaint L’Ouverture is delivered as a chant, as if Agard is orally offering his support to the revolution. • The overall lack of punctuation as well as the use of Creole represents a refusal to follow standard English and an assertion of pride in the poet’s own language and heritage. © HarperCollins Publishers 2010 Cluster 1: Character and Voice • 33 ExpAQA_Ch2PoetryClusters1Char&V_pp29-60_FINAL_Layout 1 28/05/2010 13:15 Page 34 Horse Whisperer Andrew Forster Background and Context Andrew Forster (1964−) is a Yorkshire-born poet and writer whose first collection, Fear of Thunder(2007), was greeted with acclaim. His poetry is often described as ‘sensory’ and ‘narrative’ in style. Horse whisperers were very important in the days before machinery, when farmers relied a great deal on horses. Their ability to communicate with horses, and calm them down, gave them an almost supernatural aura. In his poem, Forster uses the ‘voice’ of one horse whisperer to speak for a wider group whose skills with horse-taming were later rejected See page 267 for more by a changing society. about horse whisperers This poem explores ideas of superstition and belief, and the power of natural forces. Forster suggests that the rejection of one tradition is symptomatic of humanity’s tendency to discard established customs in the name of progress; to turn admiration and awe into distrust and even violent rejection. Horse Whisperer They shouted for me Anonymous ‘they’ suggests a At first he is desperately large group – possibly when their horses snorted, when restless needed rural/farming community hooves traced circles in the earth and shimmering muscles refused the plough. Refusal to be tamed My secret was a spongy tissue, pulled bloody Evokes the senses in the reader – using smell to tame/ from the mouth of a just-born foal, communicate with the horse scented with rosemary, cinnamon, a charm to draw the tender giants to my hands. They shouted for me Repetition to reinforce the when their horses reared at the burning straw message that the need was Horses perceived as and eyes revolved in stately heads. all on one side dignified and majestic I would pull a frog’s wishbone, A reference to ‘The Toadmen’ tainted by meat, from a pouch, who used bones of toads as a new fear to fight the fear of fire, charms to tame horses so I could lead the horses, He has made a pact – like helpless children, to safety. identifying with an I swore I would protect established group this legacy of whispers Secrets of his trade Enjambment emphasises the but the tractor came over the fields change in attitude – how he is Symbol of modern technology/ looked down on, cast out like a warning. I was the life-blood mechanisation no longer. From pulpits Condemned by religion Enjambment and internal I was scorned as demon and witch. rhyme stress ‘no more’ Pitchforks drove me from villages and farms. foregrounding his power to Suggests medieval destroy the relationship superstition My gifts were the tools of revenge. between man and horse as well as create it A foul hex above a stable door so a trusted stallion could be ridden Identifying with the horses no more. Then I joined the stampede, with others of my kind, Suggests power, strength, speed and ultimately being to countries far from our trade. part of a group 34 • Chapter 2 Moon on the Tides:the AQA Poetry Clusters © HarperCollins Publishers 2010 ExpAQA_Ch2PoetryClusters1Char&V_pp29-60_FINAL_Layout 1 28/05/2010 13:15 Page 35 A visually intense description of power and strength Still I miss them. Shire, Clydesdale, Suffolk. The searing breath, glistening veins, Repetition of pride – embodied in the horses, but steady tread and the pride, possibly also in himself and most of all the pride. his ‘trade’ ! Themes and Ideas (AO1) Targeting C The ancient tradition of horse whispering has its roots in folklore and How does Forster use superstition. Often surrounded with Masonic-like secrecy (a ‘legacy of language to demonstrate whispers’), the skill of the horse whisperer was far more to do with body his admiration for the language and empathy than ‘charms’ and ‘hexes’. Forster is possibly using the horses? Students may find changing perception of horse whispering to exemplify the human tendency to it useful to identify all the discard and scorn ‘outmoded’ ideas when they are no longer needed. The words and phrases used to persona or ‘voice’ here remains the same, although attitudes towards him describe the horses in the alter fundamentally through no fault of his own. poem. Initially, humans needed the skill of the horse whisperer to help them tame ! the majesty of the horse – often portrayed as a mystical animal. The tools of Targeting A/A* his trade are merely props which at first give his art a sense of mystique and How is the theme of ‘old ritual but then become a focus for superstitious fear, which coincides with the versus new’ exemplified replacement of the horse by ‘the tractor’. The horse whisperer clearly identifies through the contrasting with the forces of nature; when the traditional customs he embodies are language in the poem? rejected, he at first wreaks ‘revenge’ on those who turned against him before Ask students to consider joining ‘the stampede’ away from distrust and antipathy. Forster evokes a the ways in which the powerful sense of awe for the horses through the language used to describe persona’s attitude towards them, ending the poem with the repetition of ‘pride’, not only the horse’s pride, those who discard but also the lost pride he once took in the role. established traditions is demonstrated. Key Points about Language, Structure and Form (AO2) • Vocabulary / lexis is used to exemplify tension between beauty and danger. Respect and admiration for the power and beauty of nature (‘shimmering’, Compares with… ‘stately’, ‘glistening’, steady’, trusted’) contrasts with negative language ‘Medusa’ and ‘The River (‘shouted’, ‘restless’, ‘bloody’, ‘demon’, ‘burning’, ‘revenge’). The contrast God’– malevolent or suggests a tension between fear/awe and need/admiration. vengeful power ‘The Hunchback in the • The use of free verse reflects the shifting and changing perceptions of Park’– isolation and human nature. Enjambment emphasises key ideas: ‘I was the life-blood / no loneliness longer’, ‘so a trusted stallion could be ridden / no more.’ The free verse also ‘Ozymandias’– change, intensifies the effect of repeating ‘the pride’ in the final two lines, creating a the passing of time and the pattern within an otherwise free-flowing form in order to intensify the decline of power and message it contains. influence ‘Brendon Gallacher’– • Senses are evoked through descriptions of sound and smell as well as loss, regret, nostalgia sight. The powerful use of alliteration in the first stanza creates the ‘whispering’ which resonates throughout the poem: ‘shouted/snorted/restless/traced/circles/shimmering/secret/scented’. © HarperCollins Publishers 2010 Cluster 1: Character and Voice • 35 ExpAQA_Ch2PoetryClusters1Char&V_pp29-60_FINAL_Layout 1 28/05/2010 13:15 Page 36 Medusa Carol Ann Duffy Background and Context One of Britain’s best-known poets, Carol Ann Duffy (1957−) became the first female Poet Laureate in 2009. ‘Medusa’ is taken from The World’s Wife(1999), a collection in which female figures from history or the wives of literary or historical figures are given their own ‘voice’. In ‘Medusa’, it is the Gorgon eventually slain by Perseus in ancient Greek mythology who delivers her dramatic monologue. Medusa A suspicion, a doubt, a jealousy grew in my mind, Length of line symbolises which turned the hairs on my head to filthy snakes, the snakes on her head as though my thoughts hissed and spat on my scalp. Alliteration and sibilance used to suggest the sound Plosives emphasise her My bride’s breath soured, stank of the snakes strength of feeling in the grey bags of my lungs. I’m foul mouthed now, foul tongued, yellow fanged. There are bullet tears in my eyes. Her pain has made her Are you terrified? dangerous (literally her tears Semi-repetition creates a turn to stone as they leave sinister, emphatic quality her eyes) to her statement Be terrified. It’s you I love, She will possess him at all perfect man, Greek God, my own; costs – a suggestion of but I know you’ll go, betray me, stray madness or obsession perhaps? Rhyme scheme from home. intensifies the impact of So better by far for me if you were stone. ‘stone’ Everything she looks upon is destroyed – there is a sense I glanced at a buzzing bee, I stared in the mirror. of mindless destruction, so all-consuming is her jealousy a dull grey pebble fell Love gone bad Is there a sense to the ground. showed me a Gorgon. that she hates I glanced at a singing bird, I stared at a dragon. her reflection? a handful of dusty gravel Fire spewed spattered down. from the mouth of a mountain. I looked at a ginger cat, And here you come Verb links with ‘spattered’ to a housebrick with a shield for a heart demonstrate strength of her shattered a bowl of milk. and a sword for a tongue power to destroy I looked at a snuffling pig, and your girls, your girls. Repetition of a boulder rolled Wasn’t I beautiful? Strength of word intensifies question displays her attitude to her life in a heap of shit. Wasn’t I fragrant and young? her insecurity Look at me now. Single line emphasises the paradoxical final request both a plea and a threat 36 • Chapter 2 Moon on the Tides:the AQA Poetry Clusters © HarperCollins Publishers 2010 ExpAQA_Ch2PoetryClusters1Char&V_pp29-60_FINAL_Layout 1 28/05/2010 13:15 Page 37 ! Themes and Ideas (AO1) Targeting C Duffy uses the Medusa paradox as a metaphor for the pain and passion How does the poet of relationships, the danger and violence of love gone wrong. Medusa has demonstrate Medusa’s become a major feminist symbol: punished by Athena for her beauty (or for conflicting attitudes her natural libido) according to Greek myth, stories of her ‘guilt’ continue to towards her lover? be open to interpretation. In this poem, ‘Medusa’ is a woman turned ugly Students could find and undesirable by jealousy and possessiveness. Her passion turns into a evidence for the conflicting dangerous obsession, until she is prepared to possess at all costs – even if emotions she demonstrates. it means causing the death of her ‘Greek God’. However, there is a strong sense of self-loathing underlying the threats of violence: she sees herself ! Targeting A/A* as ‘filthy’ with ‘grey bags’ for lungs and ‘foul mouthed / foul tongued’. How is Duffy using Medusa Duffy suggests that it is the woman’s relationship with her man that has to examine attitudes caused this drastic change from being ‘fragrant and young’ – as if the man towards women and with his ‘girls’ has turned her into a monster of jealousy. There is pathos relationships? Ask students in the speaker’s description of turning everything she looks at into dust. to consider the use of Pathos could also be seen in her recognition in the last stanza that the man dramatic monologue as she loves is ‘armed’ against her and will inevitably cause her destruction with metaphorical ‘voice’ for his ‘shield’ and ‘sword’. other modern ‘voices’. Why might Duffy have revisited However, her last line, given great structural emphasis, is hugely ambiguous. this myth from a different It could be a heart-felt plea for attention as well as, of course, a heavily ironic perspective? threat and reminder of her capabilities. The paradox for Medusa is that she has become trapped by her own power. Duffy may be suggesting that the negative and destructive qualities of revenge will eventually undo their perpetrator. Key Points about Language, Structure and Form (AO2) • Rhyme and half-rhyme are used to stress ideas and build crescendos Compares with… of emphasis − in particular the stress on ‘stone’ is foreshadowed by ‘The River God’ and ‘My ‘own/go/home’ in the third stanza, just as ‘housebrick/milk/pig/ are used Last Duchess’– obsession to strengthen the impact of ‘shit’. As well as referring to the pig’s bed, and jealousy the expletive could also possibly refer to Medusa’s attitude towards the ‘Ozymandias’ – power and destroyed relationship – or even the situation she finds herself in. tyranny • Present participle adjectivesstress the constant destruction of innocent life, possibly implying Medusa’s regret at the mindless, arbitrary way she can destroy: ‘buzzing bee’, ‘singing bird’ and ‘snuffling pig’. Her apparently innocent looks and ‘glances’ cause instant petrification. • Negative language reinforces the pathos of Medusa’s self-image − she refers to herself with loathing (‘filthy’, ‘soured’, ‘stank’, ‘foul’). However, this obsession with her own victimisation eventually turns hearts to stone. The verbs ‘shattered’, ‘spattered’ and ‘spewed’ all intensify the sense that her life is out of control. © HarperCollins Publishers 2010 Cluster 1: Character and Voice • 37 ExpAQA_Ch2PoetryClusters1Char&V_pp29-60_FINAL_Layout 1 28/05/2010 13:15 Page 38 Singh Song! Daljit Nagra Background and Context Daljit Nagra (1966−) is a poet and English teacher. His poetry focuses on the experiences of British-born Indians, especially those of Punjabi origin. He uses a particular dialect of ‘Punglish’ in ‘Singh Song!’, which is the name given to the form of English spoken by Punjabi immigrants to Britain in the 1960s and 70s. His father, like many Punjabi parents who settled in Britain at this time, strove for years in a range of menial jobs in order to save enough money to buy a local shop. This poem is from Look We Have Coming to Dover(2007), a collection about the tensions between races and generations, assimilation and cultural identity. Exploring the Poem The title is a light-hearted play on words, setting the tone for the whole poem. Punctuation is used to emphasise the mood and attitude of the speaker. GLOSSARY Stanza 1 brightey –suggestion 1 ‘just one’ of ‘daddy’s’ shops – he only has limited accountability; perhaps of ‘Blighty’, which was a this is the first time he has been entrusted with responsibility Punjabi word for Britain 3 ‘he vunt me not to hav a break’ highlights the father’s need for the son to originating from the take this hard-earned responsibility seriously British occupation of India during the Raj Stanza 2 6−7 repetition of ‘share’ suggests that the couple have an equal partnership 9 play on words: ‘Putney’ is Punjabi for ‘wife’, and also an area of south-west London Stanza 3 (and 8) italicised refrain to present the perspective of other shoppers, who act like a chorus commentary in classical Greek theatre Stanza 4 19−21 imagery to suggest the wife is dangerous and powerful (‘on di web’, ‘netting’ and ‘playing vid di mouse’); the customers are her ‘meat’ and she tempts them with ‘cheese’ − this could also hint at the dynamic in their relationship Stanza 6 28−29 contrast of ‘gun’ and ‘teddy’ suggests conflicting feelings towards her; she is both comforting and dangerous Stanza 9 43 change of voice to second person, speaking directly to shoppers 43−50 ‘midnight’ gives suggestion of magic; extended metaphor of moon (‘cool’, ‘whispering’ and ‘silver’); moon imagery links to the idea of honeymoon 50 ‘brightey moon’ – suggestion of ‘Blighty’ 38 • Chapter 2 Moon on the Tides:the AQA Poetry Clusters © HarperCollins Publishers 2010