Monday, February 16, 2009

Analysing "Weapons Training"

Watch this short excerpt from an interview with Bruce Dawe and answer the following questions.

http://dl.screenaustralia.gov.au/module/1194/

The poem highlights the regimentation and humiliation dished out during defence training.
  1. Who is ‘I’? Is the reader supposed to sympathise with him, do you think
  2. What’s happening here? What is the context?
  3. Why is the language clipped, the tone condescending?
  4. What is the purpose of omitting most of the punctuation, including fullstops and capital letters?
  5. What concepts do you consider demeaning to the soldiers and is the speaker’s choice of language acceptable in either the armed forces or in civilian life? Why has Dawe written in this way?
  6. The speaker in the poem refers to ‘a mob of the little yellows’ and the ‘Charlies’ with their ‘rotten fish-sauce breath’. To whom is he referring and why has Dawe chosen language that most people would consider racist and offensive?
  7. Does the opening line set the tone for the poem? How effective are onomatopoeic words ‘click’ and ‘pitter-patter’?
  8. What is the point of the last line and the repetition of ‘dead’?
  9. Dawe has chosen to use a regular rhyme scheme for this poem – abba – and finishing with a rhyming couplet. What is the effect of this?
  10. What is the point of this poem? Would you consider this an anti-war poem? Explain.

Weapons Training by Bruce Dawe

And when I say eyes right I want to hear
those eyeballs click and the gentle pitter-patter
of falling dandruff you there what's the matter
why are you looking at me are you a queer?
look to your front if you had one more brain
it'd be lonely what are you laughing at
you in the back row with the unsightly fat
between your elephant ears open that drain
you call a mind and listen remember first
the cockpit drill when you go down be sure
the old crown-jewels are safely tucked away what could be more
distressing than to hold off with a burst
from your trusty weapon a mob of the little yellows
only to find back home because of your position
your chances of turning the key in the ignition
considerably reduced? allright now suppose
for the sake of argument you've got
a number-one blockage and a brand-new pack
of Charlies are coming at you you can smell their rotten
fish-sauce breath hot on the back
of your stupid neck allright now what
are you going to do about it? that's right grab and check
the magazine man it's not a woman's tit
worse luck or you'd be set too late you nit
they're on you and your tripes are round your neck
you've copped the bloody lot just like I said
and you know what you are? You're dead, dead, dead

Notes per line

  • The poem starts in the middle of a sentence, giving the impression that we might have fallen asleep like one of the young recruits being shouted at. It serves to catch our attention.
  • Note the use of spaces and pauses: these indicate a dramatic monologue, because they are natural spaces to take breath. Dramatic monologues give insight into the speaker, their situation, and the people around the speaker and their reactions.
  • pitter-patter is generally a gentle sound, but in this context it is made to sound harsh.
  • are you a queer? - this question reflects the tone of the whole poem: to be called a "queer" is obviously insulting to these men. Also is the start of a whole string of insults littered through the monologue, delivered in a blunt, confronting tone. The question mark is also the first use of punctuation, as the speaker pauses for impact - and breath.
  • Eventually we get to the heart of the matter - the instructions the sergeant is giving: "Cockpit drill" where soldiers drop to the ground and return fire, and the weapon checks.
  • The poem is full of crude sexual references: "Cockpit drill" and "crown jewels", for example.
  • mob of the little yellows - the sergeant dehumanises the enemy by making a racist comment, thus making it easier for the soldiers to kill them (if they're not really people, it doesn't matter if they die).
  • turning the key in the ignition, apart from being an obvious reference to sex, serves to give the soldiers hope by reminding them of coming back home.
  • The sergeant has drifed slightly, with alright now he gets back on track, and throws a problem at the soldiers, to make them feel uncomfortable. They are conscript soldiers and unusued to the strict discipline of the Army; the sergeant must show his authority to impress into them the necessity of listening to him: it's the only hope they've got of staying alive.
  • He drops back into dramatic monologue, using "you" all the way because in the end it will be up to the individual soldiers to determine what happens to them.
  • a number-one blockage refers to a certain technical problem. The sargeant is teaching his soldiers to learn by terrorising them.
  • Charlies is a racist name given to the Viet Cong. At every opportunity he degrades the enemy: rotten fish-sauce breath; they are ugly, etc.
  • it's not a woman's tit - back to sex references, reinforced with worse luck - because in this case, it's bad luck it's not a woman!
  • tripes is slang for "guts" (which I guess is slang for "stomach and intestines"!) Here Dawe shows how bloody war is - this is a vivid image that brings to mind images of battle.
  • Like I said ... you're dead dead dead : the message of this poem; leaves us with a sense of foreboding, that most people in this group will end up "dead dead dead".

General Notes

  • Dawe shows the realities of war: alive one moment, dead the next.
    too late ... your tripes are round your neck ...
    you know what you are? You're dead dead dead.

    Here we see the explicit crudity of the sargeant, and the reptition of "dead" emphasises the message the officer wants to drill into his soldiers. They are taught to hate, fear, and listen to authority, so they won't just go out and die needlessly. The officer does this by asserting his authority and convincing them that war is real, not a game: they are sent out not only with a weapon, but as a weapon.
  • The soldiers need to be numbed of all emotion when on the field. Crude, racist jargon is used so they will view the enemy as subhuman and feel no emotion for them.
  • The officer is not malicious: he is doing his job, and he will do anything he has to to keep the boys alive.
  • There is no clear structure and the rhyme scheme is unobtrusive, which emphasises the monologue form of the poem: despite the rhymes, the poem still sounds like human speech.
  • The repetition of "T" and "I" sounds in words like "click" and "pitter-patter" are onomatopoeic and sound like weaponry. The soldiers are being turned into weapons themselves (so that their gun is merely an extension of themselves).
  • This poem is not ironic; the use of voice is almost a parody of a sargeant, but the edge to the tone gives away his fear that these soldiers will just go and die.

Questions

  • What initial impression do we get of the instructor?
  • What is our attitude to him and what he represents?
  • How do we know it is the voice of somebody who has power or control in this situation?
  • Why does the instructor raise the issue of protecting the genetalia?
  • Why does he speak about the enemy in the way he does?
  • What do you think the instructor hopes to achieve?
  • Is your attitude towards the instructor changed by the end of the poem?
http://lardcave.net/hsc/english.2ug.dawe.weaponstraining.html

Analysis of Dulce Et Decorum Est

Here are some links to pages that offer an analysis of Wilfred Owen's poem. Just click on the link and have a look. By the way, the picture on this post is a handwritten draft of the poem from The British Library.

http://www.bl.uk/onlinegallery/onlineex/englit/owen/index.html

http://www.writerswrite.com/journal/sept97/mika.htm

http://www.articlemyriad.com/dolce_decorum_owen.htm

http://www.youtube.com/watch?v=c49tRplMh-Y

http://www.youtube.com/watch?v=aBOOLskOt48

Dulce Et Decorum Est

Bent double, like old beggars under sacks,
Knock-kneed, coughing like hags, we cursed through sludge,
Till on the haunting flares we turned our backs
And towards our distant rest began to trudge.
Men marched asleep. Many had lost their boots
But limped on, blood-shod. All went lame; all blind;
Drunk with fatigue; deaf even to the hoots
Of tired, outstripped Five-Nines that dropped behind.

Gas! Gas! Quick, boys! – An ecstasy of fumbling,
Fitting the clumsy helmets just in time;
But someone still was yelling out and stumbling,
And flound'ring like a man in fire or lime. . .
Dim, through the misty panes and thick green light,
As under a green sea, I saw him drowning.
In all my dreams, before my helpless sight,
He plunges at me, guttering, choking, drowning.

If in some smothering dreams you too could pace
Behind the wagon that we flung him in,
And watch the white eyes writhing in his face,
His hanging face, like a devil's sick of sin;
If you could hear, at every jolt, the blood
Come gargling from the froth-corrupted lungs,
Obscene as cancer, bitter as the cud
Of vile, incurable sores on innocent tongues,
My friend, you would not tell with such high zest
To children ardent for some desperate glory,
The old Lie; Dulce et Decorum est
Pro patria mori.

8 October 1917 - March, 1918

Dulce Et Decorum Est - the first words of a Latin saying (taken from an ode by Horace). The words were widely understood and often quoted at the start of the First World War. They mean "It is sweet and right." The full saying ends the poem: Dulce et decorum est pro patria mori - it is sweet and right to die for your country. In other words, it is a wonderful and great honour to fight and die for your country.

An Excerpt From a Letter Owen Wrote To His Mother;

"I can see no excuse for deceiving you about these last four days. I have suffered seventh hell. – I have not been at the front. – I have been in front of it. – I held an advanced post, that is, a "dug-out" in the middle of No Man's Land.We had a march of three miles over shelled road, then nearly three along a flooded trench. After that we came to where the trenches had been blown flat out and had to go over the top. It was of course dark, too dark, and the ground was not mud, not sloppy mud, but an octopus of sucking clay, three, four, and five feet deep, relieved only by craters full of water . . .
All a poet can do today is warn. That is why the true poet must be truthful."

Monday, February 9, 2009

How to Analyse a Poem

I found this on a site called "Poem of Quotes" (http://www.poemofquotes.com) and it looks like a pretty good way to begin analysing a poem.

Poetry can be a tiresome set of words when analyzing. The elements of analyzing poetry listed below will help you identify the meaning through its parts and give a sense of interpreting a poem. Since each poem is unique, there is no one way of going about this. Nonetheless, the general advice goes like this:

Interpreting poetry tips

  1. Read the title
  2. Read the poem. Look for the setting, topic and voice.
  3. Divide the poem into parts: intro, rising action, climax, declining action, conclusion.
  4. What tone does the poem have? Pay close attention to intonation, nuance and words used.

Now that the general structure and relationship of the poem is revealed, it's time to look at the elements of analysis: genre, voice, thesis, structure, setting, imagery, key statements, sound, language use, allusion, qualities that evoke the reader, historical/cultural, ideology.

Genre
What type of poem is it? Is it a cinquain, haiku, lyric, narrative, elegy, sonnet, epic, epistle? Different genres have separate attributes, purposes and emphases.
Voice
Who is the speaker? What point of view is the speaker? Is the speaker involved in the action or reflection of the poem? What perspective (social, intellectual, political) does the speaker show? The voice and perspective of the speaker tells of what world the poem is in.
Thesis
What is the poem about? What are the obvious and less obvious conflicts? What are the key statements and relationships of the poem? The thesis gives an indication of what tone the poem is written in: historical, social, emotional.
Structure
What is the poems 'formal structure' (number of meters, stanzas, rhyme scheme)? What is the 'thematic structure' (the plot)?
Setting
What type of 'world' is the poem set in? The time, place -- is it concrete, tonal, connotative, symbolic, allegorical?
Imagery
What images does the poem use; the physical setting or metaphors used?
Key Statements
What direct or indirect statements are made – repetition, actions, alliteration?
Sound
How does the sound, both rhythm and rhyme (if applicable), contribute to the poem.
Language Use
What kind of words are used? Do the words have double meanings? What about connotations, puns or ambiguities?
Allusion
Does the poem have a meaning from another work?
Qualities That Evoke the Reader
What sort of learning or experience does the poem give its reader?
Ideology
What are the values and basic ideals of the world that are expressed?

Friday, February 6, 2009

Poetic Techniques

The style of writing poetry differs from person to person; long or short meters, three or four lines to a stanza. But the great thing is, no matter how a poem is written it still holds great emotion. Some techniques used in poetry are onomatopoeia, alliteration, assonance, rhyming, simile and metaphor.

Onomatopoeia is one of the easiest to learn and use (but not spell). The definition of onomatopoeia is a word imitating a sound. For example; 'buzz', 'moo' and 'beep'. This can be used in a variety of ways giving the reader a 'hands on' feel.

One technique that you might be familiar with is alliteration. This procedure is used by starting three or more words with the same sound. An example of this would be 'The crazy crackling crops.' The three words don't have to have the exact same beginning to have this effect.

The next style is assonance. It is defined as a repetition of vowel sounds within syllables with changing consonants. This is also used in many different circumstances. One would be 'tilting at windmills.' Notice the vowels within each syllable sound the same.

Rhyming is probably the most well-known technique used. However unlike popular belief, it does not need to be within a poem to make it a poem. It is what it is.. a technique.

As for similes, they are often used within poetry. They are an expression that compares one thing to another. A paradigm of this would be 'The milk tasted like pickles.' This method is used in all forms of poetry and generally has the words 'like' or 'as.'

The last but not least style is metaphor. A metaphor is a word or phrase used one way to mean another. Metaphors are sometimes hard to spot and take some thinking to figure out, but they give writers more power to express their thoughts about a certain situation. One famous case where a metaphor is used is within 'The Raven' by Edgar Allen Poe. In fact, not only is it found within the story, the story itself is a metaphor of memory and the constant reminder of the narrator's loss.

These techniques are seen throughout history within both famous and amateur poems alike. To have a full grasp of poetry onomatopoeia, alliteration, assonance, rhyming, simile and metaphor should be household words.

Poetry also employs rhythm as a technique. Listed below are some common rythms found in poetry.
  • iamb — one unstressed syllable followed by a stressed syllable
  • trochee — one stressed syllable followed by an unstressed syllable
  • dactyl — one stressed syllable followed by two unstressed syllables
  • anapest — two unstressed syllables followed by one stressed syllable
  • spondee — two stressed syllables together
  • pyrrhic - two unstressed syllables together (rare, usually used to end dactylic hexameter)

The number of metrical feet in a line are described in Greek terminology as follows:

Poetic Forms

Here is a list of different types of poetry. Some types, such as "Blank Verse", "Free Verse" and "Concrete" are missing. To find out more about each form go to: http://www.poets.org/page.php/prmID/197

Abecedarian
"Abecedarian poems are now most commonly used as mnemonic devices and word games for children, such as those written by Dr. Seuss and Edward Gorey."

Anaphora
"As one of the world’s oldest poetic techniques, anaphora is used in much of the world’s religious and devotional poetry, including numerous Biblical Psalms."

Ballad
"Their subject matter dealt with religious themes, love, tragedy, domestic crimes, and sometimes even political propaganda."

Ballade
"One of the principal forms of music and poetry in fourteenth- and fifteenth-century France."

Blues Poem
"A blues poem typically takes on themes such as struggle, despair, and sex."

The Bop
"Not unlike the Shakespearean sonnet in trajectory, the Bop is a form of poetic argument consisting of three stanzas."

Cento
"From the Latin word for 'patchwork,' the cento is a poetic form made up of lines from poems by other poets.

Chance Operations
"A chance operation can be almost anything from throwing darts and rolling dice, to the ancient Chinese divination method, I-Ching, and even sophisticated computer programs."

Cinquain
"Examples of cinquains can be found in many European languages, and the origin of the form dates back to medieval French poetry."

Dramatic Monologue
"The poet speaks through an assumed voice—a character, a fictional identity, or a persona."

Ekphrasis
"Modern ekphrastic poems have generally shrugged off antiquity's obsession with elaborate description, and instead have tried to interpret, inhabit, confront, and speak to their subjects."

Elegy
"The traditional elegy mirrors three stages of loss. First, there is a lament, then praise for the idealized dead, and finally consolation and solace."

Epic
"Elements that typically distinguish epics include superhuman deeds, fabulous adventures, highly stylized language, and a blending of lyrical and dramatic traditions."

Epigram
"Candy is dandy, but liquor is quicker."

Found Poem
"The literary equivalent of a collage, found poetry is often made from newspaper articles, street signs, graffiti, speeches, letters, or even other poems."

Ghazal
"Traditionally invoking melancholy, love, longing, and metaphysical questions, ghazals are often sung by Iranian, Indian, and Pakistani musicians."

Haiku
"Often focusing on images from nature, haiku emphasizes simplicity, intensity, and directness of expression."

Limerick
"A popular form in children’s verse, the limerick is often comical, nonsensical, and sometimes even lewd."

Ode
"Originally accompanied by music and dance, and later reserved by the Romantic poets to convey their strongest sentiments."

OULIPO
"Although poetry and mathematics often seem to be incompatible areas of study, OULIPO seeks to connect them."

Pantoum
"The pantoum originated in Malaysia in the fifteenth-century as a short folk poem, typically made up of two rhyming couplets that were recited or sung."

Prose Poem
"Just as black humor straddles the fine line between comedy and tragedy, so the prose poem plants one foot in prose, the other in poetry, both heels resting precariously on banana peels."

Renga
"Renga began over seven hundred years ago in Japan to encourage the collaborative composition of poems."

Rondeau
"The rondeau began as a lyric form in thirteenth-century France, popular among medieval court poets and musicians."

Sapphic
"The sapphic dates back to ancient Greece and is named for the poet Sappho, who left behind many poem fragments written in an unmistakable meter."

Sestina
"The thirty-nine-line form is attributed to Arnaut Daniel, the Provencal troubadour of the twelfth century."

Sonnet
"From the Italian sonetto, which means 'a little sound or song,' the sonnet is a popular classical form that has compelled poets for centuries."

Tanka
"One of the oldest Japanese forms, tanka originated in the seventh century, and quickly became the preferred verse form in the Japanese Imperial Court."

Terza Rima
"Invented by the Italian poet Dante Alighiere in the late thirteenth century to structure his three-part epic poem, The Divine Comedy."

Triolet
"The earliest triolets were devotionals written by Patrick Carey, a seventeenth-century Benedictine monk."

Villanelle
"Strange as it may seem for a poem with such a rigid rhyme scheme, the villanelle did not start off as a fixed form."