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Rapture

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the desire of the moth for the star” has been taken from ‘One Word is Too Often Profaned’ by Percy Bysshe Shelley. The Love Poem’ is about the difficulty of writing a love poem and that difficulties have been best depicted with the inception, or so to say with the introduction of verses from the past poems, composed by the famous poets of their time. Similar to the first stanza, this section also starts with the subordinate clause “Till love gives in and speaks”, which also shows the frustration of the poet towards the incapability of writing love poems by modern love poets, and makes us believe that the importance of “love” through these poems conveyed in the past, has faded away, or come to an end. The Love Poem’ by Carol Ann Duffy depicts a modern poet struggling in her thoughts to write a love poem. CAROL: (Long pause) Well again, it’s interesting when people ask you questions because the question comes from the way the questioner thinks. RORY: What kind of terms do you think in then? What’s the most important thing when you’re writing?

Carol Ann Duffy - Poet - Scottish Poetry Library Carol Ann Duffy - Poet - Scottish Poetry Library

CAROL: was retell the story from Ovid's metamorphoses of Midas and I decided to do that from the point of view of Mrs Midas—CAROL: So, it only kind of evolved over a period of time — the poems in The World’s Wife— I hadn’t intended to do it or known that I would do it. I very much enjoyed doing it and each time I wrote a poem, I’d be dealing with that and then it seemed that it would become a collection, but over maybe two or three years. It’s an organic process, rather than a project. Now when you introduce, or any poet introduces, poetry at a poetry reading— CAROL: Yeah, I don’t really know . . . I suppose I don’t think of being a poet in terms of having a career. So for me, every new piece of work or new poem I start is what’s exciting and interesting about being, um, a poet and . . . one of the most rewarding things I’ve done in that writing life is writing poetry for children, which I didn’t do until my daughter was born, because I only wrote for adults. She’s twenty-three now, and when she was around two or three, I suddenly found that I wanted to write poems to share with her, for her, so that was the most surprisingly and lovely thing that happened to me as a poet, writing for children. In the first line of this stanza, once again, the narrator makes reference to an hour. Again it isn’t clear if this is an actual hour or is just meant to represent a small amount of time. I think in the first two lines of this stanza that the suggestion is that the dark feelings the narrator had been having were a result of waiting for their wedding. The image of making a ring from grass is quite nice as it invokes nature, as we have seen a few times in this poem. But on this occasion, it is done in a less trite way. Perhaps this is to emphasize the fact that sometimes love isn’t about passion and drama, sometimes it’s about nuanced gestures and subtle sweetness. Mrs Midas’. Another poem from The World’s Wife , ‘Mrs Midas’ takes its cue from the myth of King Midas, he of the ‘golden touch’. But what would Midas’ wife have made of her husband’s greed for gold? Duffy imagines into being the long-suffering wife whose life is marred by the selfishness of her avaricious spouse. The author of this article, Dr Oliver Tearle, is a literary critic and lecturer in English at Loughborough University. He is the author of, among others, The Secret Library: A Book-Lovers’ Journey Through Curiosities of History and The Great War, The Waste Land and the Modernist Long Poem.

Rapture Quotes by Carol Ann Duffy - Goodreads Rapture Quotes by Carol Ann Duffy - Goodreads

What is Duffy trying to say? One way to interpret ‘The Love Poem’ and its use of previous poets’ words is to say that the affair being described in the poem – and in the whole of Rapture – is over (as the final poem in the volume, simply called ‘Over’, will make clear). Duffy’s reference to ‘an epitaph’ in ‘The Love Poem’ hints at this: she is trying to memorialise or enshrine her love affair in words that will last, like those of the poets she quotes. (The opening words of the poem, ‘Till love exhausts itself’, also hints at the end of the affair.) Carol Ann Duffy’s ‘The Love Poem’, is a collection of verses from other love poems, composed by a few famous poets like William Shakespeare, Sir Philip Sidney, John Donne, Percy Bysshe Shelley, Elizabeth Barrett Browning, etc. Such as the poet has taken: MILLY: I was here when you last came to the University and did your talk in the Issac Newton Building, and when you last came you spoke a little bit about subversion and finding something in something that’s already been written. Is that something that you practice a lot in your writing, like looking at other poet’s work or just like found items, do you kind of try and find— Quotations like “my mistress’‘eyes” are truncated, but this doesn’t matter because one can guess the rest. One gets the gist, so a reader can either fill out the rest in imagination or if readers are taken with the line.

The narrator is clearly feeling at a loss as to what to do to better their situation. Although that situation has yet to be revealed. Once again just a classic example of how Duffy manages to get her readers to invest in her poems. The second line sees the narrator implore the subject of the poem. They call for them to “endure this hour” is the suggestion here that what they are going through is temporary. I don’t think they are talking literally about an hour but rather a difficult time period that this hour of darkness represents. CAROL: Yes, when you’re writing a poem you’re solving the problem of writing a poem, so it’s the poet and the piece of paper and the language and what happens in that event in language when you’re writing. There isn’t really the sense of anything other than that when I’m writing. O my America! my new-found land” is extracted from another John Donne poem, ‘To His Mistress Going to Bed’ MILLY: Yeah, so obviously you’ve just finished your tenure as the Poet Laureate, um, and alongside being the first female Poet Laureate, you’re also the first openly gay Poet Laureate for Britain. With this, did you find it was hard to balance the idea of being vocal about women’s rights and gay rights and being, like, an activist or would you say that some of your poetry is an act of activism, perhaps?

Rapture by Carol Ann Duffy | Waterstones

RORY: Well you, y’know, your poetry and your former status as a Poet Laureate would’ve, kind of . . . You would’ve thought that it would’ve inspired more people, especially more women to get into poetry. Would you say that you’ve left, like, a legacy there then, for future female poets to follow their dreams? When the narrator says that there is “no name or number to the hour” what they are saying seems a little ambiguous. I think the point they are trying to make is that the time of the night is irrelevant. That they don’t really care about it because there is an emotion that is prevailing and making something that might seem important on an ordinary night seem unimportant. In the third line, Duffy uses Scottish colloquialism in the form of the word “skelf” this word describes a splinter and she is using it here to suggest that there isn’t even a hint of light. This darkness that is being described is a metaphor for the dark place that the narrator feels they are in. CAROL: My poems are going to come out of my life if they’re autobiographical; they’re going to come out of my imagination if I’m making up new myths or tall tales . . . When we write, in my case, poetry, you write with all of yourself.

Let me count the ways” from ‘Sonnet 43’ of Elizabeth Barrett Browning’s “ Sonnets from the Portuguese”, RORY: Um, yeah, so you’re, y’know, you’ve been writing poetry for decades at this point. Were there any initial role models or kind of mentors that you had, especially at an early age, that either got you into poetry or helped inspire some of your poems, um, something along those lines?

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