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Page 1

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(figurative language talks about imagery, personification , synecdoche and motifs, whereas
prosodic devices talk about sibilance, alliteration , consonance and assonance and rhyme
talks about rhyme scheme and pattern in metre and syllables and anaphora and refrain
whereas rhythmic devices are enlisting, enjambment, rpetition of `ing' )
Subject matter…

Page 2

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Subject matter:
Thunderbolt surprise of falling in love, dismantles all that we may have felt
comfortable and secure. Reveals our compromises, our tired acceptance of routine
and regularity

Dysfunctional Relationships
Rhyme/rhythm: Irregular rhyming scheme ("skin", "in" and half rhyme of "routine",
for example), and internal half rhymes ("gaze" and "face")…

Page 3

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`Like a charm, like a spell'
`crouched, parched heart'
`a flames's fierce licks under the skin'

Temporality of relationships- none
Passionate love/ idealised love
Rhapsodic terror of love shown, as we are peeling away at our own intimacies and
seeing that which we have hidden away from.
Also, shows the…

Page 4

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bright as a dropped coin, makes love rich.
We find an hour together, spend it not on flower
or wine, but the whole of the summer sky and a grass ditch.

For thousands of seconds we kiss; your hair
like treasure on the ground; the Midas light
turning your limbs…

Page 5

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Bathos suggesting love not as exalted,
`We find an hour together, spend it not on flowers
or wine, but the whole of the summer sky and a grass ditch.' Sardonic effect.
Allusion to fairytale and myth
`The Midas light' ­ cursed

Friendship/ loyalty vs. love
Miller's daughter loses wealth…

Page 6

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Carol Ann Duffy
Not so hot as this for a hundred years.
You were where I was going. I was in tears.
I surrendered my heart to the judgement of my peers.
A century's heat in the garden, fierce as love.
You returned on the day I had…

Page 7

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Duffy uses warm imagery such as 'orange', 'rose' and 'sun', perhaps implying that all
love is natural, regardless of gender, or whether or not they are married.

Friendship/ loyalty vs. love
18 lines, tercets, dramatic monologue, monologue highlights how narrator is aware
of the relativity and arbitrariness of a…

Page 8

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Thought of by you all day, I think of you.
The birds sing in the shelter of a tree.
Above the prayer of rain, unacred blue,
not paradise, goes nowhere endlessly.
How does it happen that our lives can drift
far from our selves, while we stay trapped in…

Page 9

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Imagery of freedom, juxtaposed to spatio-temporal lock imposed by absence of
stanzas and end stopping suggests narrator's paroxysm.
Chiasmus, ` Thought of by you all day, I think of you.' Inverted parallelism suggests
self becomes distorted and unclear when merged with the `other'. Distorted psyche.
Lacan realised unconscious receives messages…

Page 10

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and getting dressed, like a work of art
rubbing itself out. No lifting the red rose
from the room service tray when you leave,
as though you might walk to the lip of a grave
and toss it down. No glass of champagne, left
to go flat in the glow…


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