Taken from The Continuum Encyclopaedia of British Literature a view from Since British poetry has moved steadily from what many regard as twentieth century parochial to a twenty-first century international. In the space of little more than fifty years the insular, clear verse of mainland English Britain has changed from being a centralist and predominantly male, seemingly academic practice to become a multi-hued, post-modern, cultural entertainment, available to all. Some observers see this as liberating.
The photos we see in Sunday supplements, embellishing headlines or posters are taken by these courageous people. The photographer has returned to England from an assignment abroad.
He notices as photographs develop before his eyes. He thinks of the differences between the places he has just visited and the place he calls home. He remembers the people in the photos and what they were doing when he was taking their images.
The photographer realizes that people are not influenced by his work for more than a short time. He knows that all of his work will be reduced to just a few pictures in a glossy magazine. Talking to himself, he says that nobody cares about either him or the people he shows in his photos.
There is no name given to the photographer. He is anonymous, and could be any of those who do the recording of war scenes.
The image also brings to mind the visions of a graveyard scene where the spools of film are gravestones. In a simile where the poet compares the photographer to a priest represents his seriousness toward Carol ann duffy and liz lochhead job, and how by taking their photographs, he helps those who are helpless.
His darkroom is the resemblance of a church wherein his red light is similar to a colored lantern. The poet has appropriately used this image here, as similar to a priest; he also gives sermons on how fragile we have become, and how short-lived our life has become.
Thus, the poem actually discusses about the aftermaths of war and death. War and Death are correlative as when there is war, there must be death of human beings. And this is when he comes in front of the true reality, and contradicts his calm nature while photographing. This emotive language suggests how he is now seeing the soldiers die instead of then when he was taking their photographs.
However the readers are very well aware of the fact that merely a small selection would be opted for having an impact on the readers. The second stanza brings out the differentiation between the two shelves of the photographer.
In his first shelf he remains very calm, cool and y dedicated toward his job. But when he comes back his dark room, and starts developing the pictures, his hands start trembling and he is not calm like before.
He sees the ghosts of dead soldiers and dead people in the prints of the photographs that he has developed. Duffy also distinguishes the fields in England with those abroad — as if the photographer believes English fields are not minefields.
Third Stanza In the third stanza of War Photographer, the poet creates a very strange situation for the readers. The poet once again takes the photographer to his painful memories. This was really a very traumatic situation for the photographer.
The photographer says that though he has got a collection of hundreds of war photographs, the editor will just pick five to six photos, as per his requirements, and publish them with the story covered relevant to the war. The poet says that the photographer knows that it is going to be very late for the readers to see the photos taken by him, but they may surely look at the photographs on Sunday morning either while having a bath or a beer at lunchtime.Essay on Carol Ann Duffy and Liz Lochhead Explore Memories Compare and contrast how Duffy and Lochhead explore memories Both Carol Ann Duffy and Liz Lochhead provide an exploration of their childhood memories, and how these memories have changed and developed with age into analysis of social expectations of men and women in the 's.
Carol Ann Duffy and Liz Lochhead Explore Memories Research Paper contrast how Duffy and Lochhead explore memories Both Carol Ann Duffy and Liz Lochhead provide an exploration of their childhood memories, and how these memories have changed and developed with age into analysis of social expectations of men and women in the 's.
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An Alternative Analysis.
Carol Ann Duffy has a unique way of expressing her love in an unconventional way through this profound work of poetry. She spurns traditional expressions of love in favor a nontraditional Valentine’s Day gift, claiming that it symbolized love in a much more realistic way than roses or heart shaped candies.
in the third-class seat sat the journeying boy, and the roof-lamp’s oily flame played down on his listless form and face, bewrapt past knowing to what he was going,or whence he came. Two poems that focus on love as a theme are Warming Her Pearls by Carol Ann Duffy and Epithalamium by Liz Lochhead.
Warming her Pearls depicts a situation in which a servant speaks of her unrequited love for her mistress, whereas Epithalamium is a celebration of marriage.