Transcript A2 English & Literature Poetry

A2 English & Literature
Poetry - Carol Ann Duffy
Beachcomber
Beachcomber
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Structure first.
 Five irregular sections
 Lines of irregular length and no set rhythm
pattern
 Mainly short lines with one or two very long
ones.
 No apparent rhyme scheme.
Beachcomber
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The Sequence
The Title refers to the girl described in the poem.
Double meaning in so far as it describes her
activities but could also mean a tramp.
The poem is recollecting a distant past.
Beachcomber
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First Section
 The poet speaks directly to “You”.
 Who is “you”?
 First line suggests extreme concentration in
order to do something – but what?
Beachcomber
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“scare yourself” is an unusual idea followed by
an almost but not quite familiar expression –
”within an inch of the …heart” Is this a weak
heart, is “you” an old person?
Age is then referred to directly in the next
lines, asking “you”’s age.
Is it important?
Beachcomber
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Enjambment to next section.
Introduces the subject of the poem – the child.
Sepia suggests an ancient photograph but, by
saying “not in sepia” the poet suggests
remembering a living child, not a picture.
Beachcomber
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“Lives” on a line all to itself suggests that it is
important to see her as a living being. Life is
important.
The next line identifies it as a girl.
Then places her geographically & makes it
clear the child is alone.
The bucket & spade suggest she is occupied,
therefore alone, not lonely.
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List of things in the bucket. (Duffy likes
lists – where else do we see them?)
How the crabs were caught is a typical
childhood thing, fishing for fun, not
purpose.
“Don’t move.” An instruction to the
reader.
“Trow” = think, believe.
Beachcomber
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Third Section
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Begins with another instruction to the
reader.
Getting them to focus – getting a clear
recollection.
No need to externalise the sound by
describing it – just hold firmly on to the
thought.
Image of platinum – metallic & reflective.
Beachcomber
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“Earth seemed to turn away” play on
words – earth does turn in real terms
but does this also mean turn away,
reject? And, if so, from whom? (Reader,
child, writer?)
Then abrupt change away from the
scene to the child itself.
Beachcomber
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Fourth Section.
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First line emphasises that there is a reason
for this focus, followed by urging the reader
“you” to think harder, concentrate.
We have returned to the narrative about the
child’s actions.
Short phrases recollecting real childhood
experience.
Present tense – makes it live.
Beachcomber
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Listening to the shell is another
childish play activity – listening for the
sea.
Speaking directly to the “you”.
Question & Answer
Answers on behalf of “you” –
confirming
Beachcomber
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Fifth Section
 Reminder that it is just a memory.
 “Nearly there” – is this a case of “so
near and yet so far” or “so near and
no nearer”?
 Is the writer putting the restrictions
on?
Beachcomber
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Open your eyes – having been closed in
order to concentrate – back to reality; the
here and now.
Who do the hands belong to? The you?
Is the “you” an old person? Where’s the
evidence?
Why can’t they touch the child?
Beachcomber
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Time = distance again? (like which
other poem?)
Another list- this time of all the
symbols of childhood the “you” can no
longer reach.
This list summarises the things that
have been mentioned before.
Beachcomber
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Repetition of “What” puts force into the
question.
Followed by “of all people” makes it clear
the “you “ has nothing in common, nothing
left to say to the child.
Why?
Is “you” the adult remembering being the
child?
Beachcomber
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Is “you” someone who harmed the child?
Asks the question & appears to wait for an
answer; gets none and treats the silence
as agreement that “you” has indeed
nothing to say.
If so, why?
What should “you” want to say?.
Beachcomber
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Even if you could say something, what
could you say?
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Warnings, explanations, advice?
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What could “you” say that the child
would understand?
Beachcomber
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General points.
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Short, simple words appropriate to to a
child or an old person.
Equivocal meanings.
Questions left unanswered.
Quite menacing.
Isolating key words & phrases