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Grade 11 Poetry

English - Home Language - Mandatory (Buffelsdale Secondary School)

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ENGLISH HOME LANGUAGE

POETRY BOOKLET
GRADE 11

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GRADE 11 POETRY LIST 2023-2024

TITLE POET
1.London 1802 William Wordsworth
2. Eating Poetry Mark Strand
3. I Remember District Prophets of Da City
4.The Woman Kristina Rungano
5.Hanging Fire Audre Lourde
6.Da Same Da Same Sipho Sephamla
7. Anthem for Doomed Wilfred Owen
Youth
8.The Ride Joyce Chigiya
9. The Second Coming WB Yeats
10. We wear the mask Paul Laurence Dunbar

The following educators must be thanked for their teamwork and valuable contribution in compiling this
resource pack : Ms K Pather (Kharwastan Sec),Dr D Poovan (Meadowlands Sec) Mrs Y Moodley (Ganges
Sec), Mrs S Dennis (Wingen Sec) Mrs R Padayachee (Apollo Sec) Mr N Mogandran (Ganges Sec)

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INTRODUCTION TO POETRY
Before we begin unpacking and analyzing poetry, we need to understand the following concepts and
vocabulary:
THEME AND MESSAGE
The theme refers to the main idea or the subject of the poem. The poet is usually writing about a
specific topic or area of interest. The message is the lesson that the poet conveys/ communicates to
the reader.
INTENTION
The reason the poet had for writing the poem. What does the poet aim to achieve by writing this
poem? The poet may want: to express love, to criticize, to protest, to evoke sympathy, to express
admiration.
STYLE
Style refers to the way the poet expresses themself. The specific traits of the poet that is present in
their writing, including the choice of words and language used. It helps to look at the period in which
the poem was written to determine the style. e.g. conversational, technical, humorous.
DICTION
The diction refers to the poet’s choice of words. The poet carefully selects each word to express their
thoughts and feelings. The choice of words is closely linked to the poet’s intent. Remember to
consider the denotative and connotative meaning of the words used.
TONE
The tone refers to the poet’s attitude or feelings. It is used to convey their emotions and to set the
mood of the poem. It is established through the choice of words, the imagery, or the structure of the
poem. The tone can vary within a poem. e.g. sarcastic, bitter, joyful, frustrated, melancholic.
MOOD
The mood or feeling of a poem refers to the atmosphere created by the poet. It is closely related to
the tone of the poem. The mood reflects the poet’s attitude towards their subject matter. A
sad/melancholic tone would create a depressing mood.
POINT OF VIEW
The point of view is the perspective from which we experience the poem. it is important to distinguish
between the poet and the speaker. The poet is the author/writer while the speaker is the narrator, the
voice telling us the thoughts/feelings/story.

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RHYTHM
The beat created by the sounds of the words in a poem. The varied repetition of the beats creates the
rhythm. The function of rhythm is to emphasize words in a poem. It helps to create a specific mood or
atmosphere or to convey a particular theme.
METER
Meter refers to the pattern of stressed (strong) and unstressed (weak) syllables. Each unit or part of
the pattern is called a ‘foot’.
Iambic – unstressed syllable followed by a stressed syllable.
Trochaic – stressed syllable followed by an unstressed syllable.
RHYME
Words that sound alike because they share the same ending vowel and consonant sounds. A rhyme
scheme refers to a pattern of rhyming words or sounds.
End rhyme: words at the end of each line forms a rhyming pattern
Internal rhyme: a word in the middle of the line that rhymes with a word at the end
IMAGERY
The use of language that appeals to our senses. How the poet creates a picture or image using specific
words. (‘Draped in red bandanas of blood’ creates a gruesome image of blood smeared across the
dogs face.)
SYMBOLISM
The use of a word or object which represents a deeper meaning than the words themselves. A red
rose would symbolize love and beauty.
FIGURES OF SPEECH
ALLITERATION Anthem for doomed youth
Repetition of the consonant sounds “Only the stuttering rifles’ rapid rattle”
Repetition of the “r”sound.
ASSONANCE Anthem for doomed youth
Repetition of vowel sounds (a,e,i,o,u) “No mockeries now for them; no prayers
nor bells”
Repetition of the “o” sound.
ONOMATOPOEIA Bang!
Words that imitate the sound that they are
naming
SIMILE London, 1802
Comparison of two things using “like” or “thou hadst a voice whose sound was like
“as” the sea”
He compares the power and force of his
voice to the powerful and loud sound of
the sea.
METAPHOR The second coming
Direct comparison of two things “the falcon cannot hear the falconer”

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The poet compares humanity to a falcon

and the falconer to a sense of order that
is now lost.
EXTENDED METAPHOR The second coming by WB Yeats
When the metaphor continues for several employs complex imagery and symbols to
lines or the entire stanza. refer to the political and historical context
of the time.

PERSONIFICATION The woman

Attributing human or life-like qualities to The poet claims the ‘sun’ is angry and
non-human objects. vigilant. The sun represents the
patriarchy.
ANTITHESIS You are easy on the eyes but hard on the
When two contrasting ideas are put heart. (You are attractive, but you hurt my
together to achieve a desired outcome. feelings)
“To be or not to be”
Famous Hamlet quote contemplating
whether to live or to die.
SARCASM Sarcasm is created when a speaker
Sarcasm takes the form of an ironic makes a statement that is clearly the
remark that is rooted in humor, intended opposite of what they feel or believe. The
to mock, or draw attention to the situation. tone of voice indicates the sarcasm.
A vegan saying, “I really love killing
animals for food.”
IRONY The ride
The definition of irony as a literary device “Please pay the fare, we buy fuel from the
is a situation in which there is contrast black market”
between expectation and reality. The The man expects them to pay for the ride,
outcome is different than expected. yet he bought the fuel illegally from the
black market.
METONYMY London, 1802
The substitution of one term for another. “altar, sword and pen, Fireside” is used to
symbolize the army, its writers and
homes.
HYPERBOLE Hanging fire
An intentional exaggeration or “the boy I cannot live without”
overstatement, often used for emphasis. She claims that without him she would
die, she is expressing his importance to
her.
RHETORICAL QUESTION The woman
Questions asked not for an answer but to The poem ends with rhetorical questions
make a point/ emphasize an idea aimed at men/patriarchy.
ENJAMBMENT Hanging fire
The continuation of a sentence or Almost all lines of the poem are
thought, without a pause, beyond the end enjambed to create a narrative style
of one line.
APOSTROPHE London, 1802

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A figure of speech in which a character or Milton! Thou shouldst be living at this

speaker addresses someone who is hour:
absent. The poet addresses John Milton, a dead
poet.
ANAPHORA Eating Poetry
The repetition of a word or phrase at the “The” at the start of all three lines of
beginning of multiple lines. stanza three.

GUIDELINES TO WRITING A POETRY ESSAY

Opening paragraph - Introduce the Poem, title, author and background.

Body of text - Make most of the analysis, linking ideas and referencing to the poem.

Conclusion - State one main idea, feelings and meanings.

Poetry essay -Introduction

To start an introduction to a poem analysis essay, include the name of the poem and the author.
Other details like the date of when it was published can also be stated. Then some background
information and interesting facts or trivia regarding the poem or author can also be included here.

Poetry essay- Body

When writing the main body of text keep in mind you have to reference all ideas to the poem so
include a quotation to back up the sentence, otherwise, it will be a wasted comparison and not count.
Be clear with your statements.

Poem essay- Conclusion

Now, this is where you should take a step back from analyzing the individual elements of the poem
and work out its meaning as a whole. Combine the different elements of the analysis and put forward
one main idea.

What is the poet trying to say, and how is it enforced and with what feeling?
Then look at the meaning and what timeframe does this evolve over?

For example, is it obvious from the start, or does it gradually change towards the end? The last few
lines can be very significant within a poem and so should be included in the poem analysis essay
conclusion and commented on the impact on the piece.

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How to Analyze a Poem?

Reading aloud can help identify other characteristics that could be missed. It is important to
remember that poetry is a form of art painted with only words.

So that to analyze a poem properly, you have to pay attention to the following aspects:

Title of the Poem

So let's go deeper into the poem analysis essay and look at the title. The poet may have spent a lot of
time thinking about naming the piece so what can be observed from this and what further questions
can be asked?

• What are your expectations? For example, the poem could be titled “The Ride” written by
Joyce Chigiya and from this it is natural to assume it might be journey or destination. After
reading further does the reality turn out to be different?
• What is the literature style used? For example the poem ‘We wear the mask’ uses an
extended metaphor
• What is the poem about? In the poem, For example the poem ‘London 1802’ does not
necessarily give a physical description of London as the title might suggest.

Literal Meaning of the Poem

Pay heed to the vocabulary used. Make a list of unknown words and phrases. Also, maybe check the
meaning of words that are used a lot, but remember some text may have had a different meaning a
century ago, so use the internet to look up anything that is not clear. Furthermore, people and places
and any cultural relevance of the time should be researched too to get a deeper look at the poet's
attitude towards the piece. Patterns might become visible at this point and maybe the theme of the
poem.

Structure of the Poem

When looking at the structure of the piece this will reveal more information so pay close attention to
this. Examine the way stanzas are organized :

• What does each stanza discuss?

• How do the stanzas relate to each other?
• Can you see formal separations?
• What logical sense does it have?
• Is there emotional sense that can be evaluated?
• Does having a strict format say anything about the poet?
• Also failing to have a strict structure does this reveal something?

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Once you have observed the structure, it is possible to go deeper into the poem analysis essay and
investigate how the speaker communicates the poem to the reader.

Tone and Intonation of the Poetry

Speaker
So now it is possible to look at the poet and see what details can be obtained from them. Is it possible
to see the gender or age of the speaker? Is there some race or religious references to pick up on?
Then can we see if the speaker is directly communicating their thoughts and ideas to the reader? If
not, what is the character the poet has created to convey the ideas or messages? Does the poet's
persona differ to the character created and what can be analyzed from this? Also the mood of the
speaker could be available now, are they happy or sad, and how can you find out this from the poem?

Recipient
Once the poet is understood it is possible to move onto who or what the poem is designed for. Then
you can see the purpose of the poetry, what does the poet want from the reader? It is also possible
that the poet does not desire a response from the audience and is simply making a statement or
expressing themselves.

For example, a poem about spring could just be a happy statement that winter has ended. Looking
from the other side, this could be an attempt to attract someone's attention or maybe just an
instruction to plow the field.

Purpose of the Poem

The subject of the poem can help identify the purpose, as this usually will be what the poet is
describing. Then the theme can be identified also, and what does it say about the work? Are there
any links between the theme and the subject and what can analyzed from that? The timeframe is also
an important factor to consider, for example, the poet's goal back when it was written, may have
changed and why?

Language and Imagery of the Poetry

Until this point it was only possible to analyze the literal information available which is
the denotative meaning.’ The imagery, symbolism and figures of speech, is the connotative meaning.

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Imagery
This is where you should look for pictures described within the text and analyze why they have been
depicted? So for example, if the poet has decided to describe the moon this could set the time in the
work or maybe the mood of the poem. Also look for groups of images described and patterns within
this, what can be deducted from that?

Symbols
So when looking for symbolism within the text this could be an event or physical object, including
people and places that represent non-physical entities like an emotion or concept. For example, a
bird flying through the air can be seen as freedom and escaping usual conforms.

Poetic devices
In your analysis you will look at techniques like metaphors, similes, personification and alliteration to
include just a few. It's important to identify the actual device used and why it was chosen. For
example, when comparing something within the text using a metaphor then look at how they are
connected and in what way they are expressed? Try to use all available clues to gain better insight
into the mind of the poet.

Music of the Poem

Poetry and music have deep connections and can be compared together due to the history and uses
throughout the ages.

Here are some things to look out for to help with those comparisons:

• Meter - This can be available to investigate in different ways, for example, iambic pentameter
has a strict five beats per line just like a musical score if used what does it say?

• Rhythm - Just like with music, poem can have a rhythm but if there is no given meter, it is
needed to look closer and observe what this does to the work. For example, a particular beat
that is fast could make the poem happy.

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• Special effects - Looking for not so obvious signs where the poet has written in a way so you
take longer to pronounce words. Also it is possible to grab your attention in other ways, for
what reason has the writer done that?

• Rhyme - There are many different types of rhyming techniques used within poetry, once
identified look at how it impacts on the work like make it humorous for example? Be careful to
look for unusual patterns for example rhymes within the lines and not just at the end of the
sentences, even reading out aloud might help find these and then what does it this say about
the poem?

• Sound effects - The depiction of different sounds can be powerful and also using different
voices, look at what impact this has on the piece and why?

• Breaking Rules (unconventional style) - Rhyme and meter for example can have very
specific rules but what if the poet decided to break these conventional techniques and make
something new, what does this add to the poem?

The Petrarchan Sonnet: William Wordsworth: Known for his admiration of nature
14 lines which is evident in this poem as he uses images of positive
1st 8 lines: octave and negative images of nature to convey the moral
Last 6 lines: sestet degradation of England which must be contrasted to the
The octave provides a problem while the virtuous Milton
sestet offers a solution.

John Milton (1608–74)

is considered the most
significant English writer after
TITLE: Synecdoche- London which is the capital (a part) is used
William Shakespeare and is
to represent the whole of England. Relevance of 1802:
known for being one of the
Industrialsation
most influential Romantic
Poets. His epic Paradise Lost
which helped people retain their
religious values and virtues during
the Civil War.

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1. London, 1802 BY W IL L IA M W ORD SW ORT H

metaphor Personification

1 Milton! thou shouldst be living at this hour: a

2 England hath need of thee: she is a fen b o
Altar-shrine 3 Of stagnant waters: altar, sword, and pen, b c
Sword- war 4 Fireside, the heroic wealth of hall and bower, a t
Pen- literature 5 Have forfeited their ancient English dower a a
6 Of inward happiness. We are selfish men; b v
7 Oh! raise us up, return to us again; b e
8 And give us manners, virtue, freedom, power. a
9 Thy soul was like a Star, and dwelt apart: c s
10 Thou hadst a voice whose sound was like the sea: d e
simile 11 Pure as the naked heavens, majestic, free, d s
12 So didst thou travel on life's common way, e t
13 In cheerful godliness; and yet thy heart simile c e
14 The lowliest duties on herself did lay. e t
The Volta/turning Personification
Point
N.B. The focus changes

From the socio-political climate Vocabulary:

In London to the famous 17th Century
Poet John Milton. L2- “fen”: mud, mire, dirt, or marsh."
Definitions of fen. low-lying wet land with
grassy vegetation;
Central idea/Theme:Wordsworth’s
apprehension regarding the moral and L4- “bower”: shelter formed by tree boughs or
intellectual decline in England. He tries to vines
revive John Milton’s example in the hope to L5- “dower”: Their right/what defines them and
inspire a solution. morality, humanity and has been passed down is now lost.
the natural environment

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GENERAL SUMMARY:

"London, 1802" portrays something of Wordsworth's moralism and his growing conservatism.

He often tried to convey the message of morality to his readers. Here again, pleads with the English
people to return to morality and selflessness. He criticizes them for lacking "manners, virtue, [and]
freedom."

But he also refers to "inward happiness" as a right, or "dower," and asks Milton to bestow "power" as
well as virtue on the English.

He describes Milton’s soul: "soul was like a Star," because he was different even from his
contemporaries in terms of being a virtuous man.

The speaker feels that Milton’s voice was like the sea and the sky, a part of nature and therefore
natural: "majestic, free." ◦ The speaker also compliments Milton's ability to embody "cheerful
godliness" even while doing the "lowliest duties." ◦ As stated above the speaker on several instances

Line-by- line Analysis

L1: The speaker’s desperation is noted by his plea as he apostrophizes Milton and calls out to him in an
exclamatory tone. He wishes that Milton were alive to help restore England to its former prestige
and dignity.

L2-3: Highlights the anxiety by use of the word “need” which tells us the situation is dire. England is
personified as a woman, which emphasizes the tainted beauty that it now represents. This idea
progresses by use of the metaphor “she is a fen of stagnant waters”- suggesting muddy/filthy
waters that is indicative of a state of rot/decay. The word stagnant also highlights the non-
progressive state of England. The use of the colon serves as a notation that a list is to follow. This list
is indicative of the religion/God, prowess on the battlefield (valour and honour) and literature which
has degenerated from its former state of glory.

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L4-6: The speaker feels nostalgic for the England that was once warm/homely (“fireside”) and defined by
prestige and served as a safe haven and home(“bower”) which has now been lost (“forfeited”) as a
result of the immense changes as a result of industrialization. These changes have costed them
their happiness since they have now been stripped of their ideals. “We are selfish men” highlights
the speakers disdain for the current state of affairs in England.

N.B The imagery in these lines evoke a deep sense of loss and hopelessness.

L7-8: Using an interjection”Oh”

A plea is made to Milton, to return and purge England from this moral desolation and restore it to
its former glory.

L9-11: The speaker now justifies as to why he calls out to Milton by using 3 similes. By comparing his soul
to a “Star”, the speaker suggests that Milton symbolizes a beacon of hope, happiness, positivity
and renewal.

“…voice whose sound was like the sea”- reiterates his colossal impact and influence which is
authoritative, but also calming and consistent just like the sound of the ocean.

The imagery in L11 evokes a sense of deep admiration that the speaker has for Miton by suggesting
that his purity can be compared to a virtue of Heaven. His enamouring demeanour “Majestic, free”

Highlights Miton’s regal nature and his free spirit .

L12-14: The qualities of humility and altruism of Milton are revealed by the speaker ”lifes common way”.
This is an apt ending which suggests that England needs to be rescued by one who had a true sense
of what ought to be valued and through his “cheerful Godliness” he was able to perform the
lowliest of duties without complaint because of his faith.

This highlights his selfless spirit which must be contrasted to the selfish spirit of those in England as
the speaker mentioned in L6

Questions:
1. Comment of the effectiveness of the imagery used in lines 2-3. (3)
2. Discuss the main point/s that are explored in the Octave and Sestet respectively. (2)
3. Suggests how Wordsworth romanticises the ideals and qualities of Milton. (3)
4. Ref to lines 12-14.
How are these lines effective in conveying the indented message of the poem? (2)
[10]

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7.Anthem for Doomed Youth – Wilfred Owen

What passing-bells for these who die as cattle?

— Only the monstrous anger of the guns.
Only the stuttering rifles' rapid rattle
Can patter out their hasty orisons.
No mockeries now for them; no prayers nor bells;
Nor any voice of mourning save the choirs,—
The shrill, demented choirs of wailing shells;
And bugles calling for them from sad shires.

What candles may be held to speed them all?

Not in the hands of boys, but in their eyes
Shall shine the holy glimmers of goodbyes.
The pallor of girls' brows shall be their pall;
Their flowers the tenderness of patient minds,
And each slow dusk a drawing-down of blinds.

Background information on the poet

Wilfred Owen was born in England in March 1893 and died in November 1918 on the battlefield. He was only
25 years old. Owen’s death is especially tragic as he died just one week before the end of the war. He was one
of the leading poets of the First World War. His poetry was based on the horrors of war that he personally
witnessed.

Gist of the Poem

This poem laments the loss of young men on the battlefield. War is normally associated with heroism,
patriotism, pomp and ceremony. However, Owen shows us the cruel reality of war which is hidden from the
public.

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Vocabulary
Title Anthem a song of praise
Line 1 passing bells bells rung immediately after a death as a signal for prayer
Line 2 orisons prayers for the dead
Line 5 mockeries false pretences
Line 7 demented insane or mad
Line 7 shells bombs
Line 8 bugles trumpet-like brass instruments used in the military
Line 8 shires counties, the name for regions in England
Line 12 pallor unhealthy pale appearance
Line 12 pall cloth spread over a coffin

Analysis of the Poem

The title of the poem is a paradox. An anthem is normally used to express love for the homeland but in actual
fact in this poem they are sending young soldiers to war where they are unlikely to get back because of their
doomed fate.
The poem starts with a rhetorical question: ‘What passing bells for these who die as cattle?’
‘Passing bells’ are traditionally rung when someone has passed on. The speaker questions what good ‘passing
bells’ and other rituals have in a situation such as this. The poet tries to capture the tragic waste of young lives
and the undignified way in which they die like cattle in an abattoir. Line 2 tells us that the only sound that
resembles the traditional bells is ‘the monstrous anger of the guns.’ The guns are personified and their sound
is compared to the sound of anger. It is as if the guns are reflecting the feelings of the soldiers. The sounds of
the rifles smothers the orisons (the prayers) of the men. Any religious ritual for these soldiers would undermine
their deaths and would be an insult to them. There could also be a suggestion that there is no time to stop and
pray for those who have died. These young soldiers are not accorded the respect and dignity that they
deserve.
The words ‘No mockeries now for them’ suggest that it would be a travesty to pray for them while soldiers
continue to be killed. He points out that there are neither special occasions nor pleasant ceremonies on the
war front. There are no voices of mourning and no choirs heard for them except the sounds of the weapons
(bombs). Owen’s use of ‘shrill’ and ‘demented’ add to the extreme madness of the battleground and the
relentless ear-shattering sounds that are heard.
The eighth line suggests that as the men die, the bugle sounds are all they will hear, reminding them of home
and the grief that their deaths will cause.
The sestet speaks about those back home who mourn the loss of their loved ones. The sestet starts with a
rhetorical question. The speaker asks what candles will be lit for the young men to illuminate their way to the
next life. He says there will not be any altar boys holding candles for them. Instead, there will be only ‘holy
glimmers of goodbyes’ shining in the eyes of the fellow young soldiers who are also doomed to die.

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The phrase’ holy glimmers’ suggests gentleness and perhaps innocence considering the fact these men are
very young.
At some funerals, a pale or white cloth is used to cover the coffin. However, in this situation, this does not
happen. The only white covering for these men is the whiteness or paleness of the ‘girls brows’ back home.
The soldiers’ loved ones back home will be stricken with grief. There are also no flowers for the soldiers. They
only have ‘the tenderness of patient minds’ – it is just the tender memories held in the minds of their loved
ones.
The final image is that of blinds being drawn in respect of the dead. This is yet another tradition to mark the
loss of those who have passed on; curtains and shutters are closed to create a dark interior and to signal to the
community at large that the dead are acknowledged.

Imagery
Wilfred Owen uses powerful images and many sound techniques to illustrate the brutality and
meaninglessness of war. He uses alliteration to create sounds in the reader’s mind when reading them, like for
example ‘rifles rapid rattle.’ The choice of these three words introduces a short, staccato rhythm, exactly as
gun shots would ring out rapidly. Owen also uses personification when he refers to the ‘monstrous anger of the
guns.’ He personifies guns to show how much they were used and the destruction that they caused. He also
used the simile ‘die as cattle’ to create a sense of the inhumane treatment of the soldiers. Men are slaughtered
like cattle.

Form and Structure

‘Anthem for Doomed Youth’ is a Petrarchan sonnet made up of an octave and a sestet. The octave is
dominated by the sound of battle and the sestet is characterised by the grief of the soldiers’ loved ones.

Themes
One of the central themes of this poem is the futility of war. This poem can be seen as a protest against war.
Young lives are lost in vain. In the past, war was glorified and it was seen as a great honour to fight for your
country. However, Owen depicts the tragedy of war. Young men die in the chaos of battle. Those who lost
loved ones were not present at the burials of their young men and are left devastated by their loss.

Questions
1. Comment on the irony in the title of the poem.
2. What effect is achieved by using two rhetorical questions in the poem?
3. What does the simile ’die as cattle’ suggest about the deaths of the young soldier s?
4. Show by contrasting the rhythm in line 3 with that of line 14, how the poet effectively used rhythm to
enhance his ideas.
5. How does the poet convey his attitude to war in the octave?

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2. EATING POETRY - BY MARK STRAND

Ink runs from the corners of my mouth.
There is no happiness like mine.
I have been eating poetry.

The librarian does not believe what she sees.

Her eyes are sad 5
and she walks with her hands in her dress.

The poems are gone.

The light is dim.
The dogs are on the basement stairs and coming up.

Their eyeballs roll, 10

their blond legs burn like brush.
The poor librarian begins to stamp her feet and weep.

She does not understand.

When I get on my knees and lick her hand,
she screams. 15

I am a new man.
I snarl at her and bark.
I romp with joy in the bookish dark.

BACKGROUND INFORMATION ON THE POET

Mark Strand was a former U.S. poet laureate who lived from 1934 to 2014. "Eating Poetry," one
of Strand's most widely read poems, appeared in his sophomore collection, Reasons for
Moving, published in 1968. This was the book that helped to establish Strand's reputation as a
poet.

In many ways, "Eating Poetry" is characteristic of Strand's writing. It uses spare, tightly
controlled vocabulary and lacks a specific sense of time or place. The poem also features a
surreal, dark sense of humour, and it implicitly celebrates individuality and the human
imagination.

In an interview, Strand had this to say about "Eating Poetry": "When I wrote that poem, I wasn’t
sure what I was writing about. It took me weeks to figure it out [...] psychological repression is
a feature of that poem. The dogs are the self that would be liberated. They are the animal,
impulsive, uncontrollable elements in my nature, especially in my appetite for poetry." For
Strand, then, poetry is something immediate, intuitive, and sensuous.

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GIST
Eating Poetry" is the opening poem in Mark Strand's 1968 collection Reasons for Moving.
Using Strand's characteristically dark humour, the poem finds its speaker in the act of "eating"
poetry in a library, devouring poems like a ravenous, wild animal. The librarian, for her part,
can't believe what she's seeing and becomes increasingly terrified—especially as the speaker's
passionate consumption seems to summon dogs from the basement! Surreal and strange, the
poem testifies to the wonders of poetry itself—and perhaps suggests that it's not necessary to
explain, categorize, or even fully understand poems in order to enjoy them.

The speaker declares that his mouth is covered in ink. Nothing makes people as happy as eating
poetry, he says—which is exactly what he has been doing.
The nearby librarian, meanwhile, is totally shocked by the speaker's behaviour. She looks sad
and tucks her hands into her dress as she walks by.

The speaker has eaten up all the poetry in the library, to the point that there's none left. The
room is dark now, and dogs start making their way up the stairs from the basement.
The dogs are in a frenzy, their eyes wide and rolling and their legs looking like a bush on fire.
The librarian, who is pretty understandably upset by all this, starts stomping her feet and crying.
The poor woman simply doesn't get it, the speaker says, before getting down onto his knees and
licking her hand like a dog. The librarian shrieks in response.

The speaker feels like this poetry has transformed him into a totally new person. Still acting like
a dog, he growls and barks at the librarian, and then bounds around with happiness in the quiet
darkness of the library

CONTENT ANALYSIS
STANZAS 1 AND 2

Ink runs from the corners of my mouth.

There is no happiness like mine.
(…)
and she walks with her hands in her dress.

In the first stanza of ‘Eating Poetry,’ the speaker begins by stating very clearly he’s been eating
Poetry (in media res—that is, right in the middle of the action.) Ink is running from the “corners
of [his] mouth” and he’s experiencing happiness that noone else can understand. While this is
really a metaphor for the act of reading poetry, the poem treats this consumption quite
literally—as if poetry were a kind of the corners of [his] mouth"—like the juice of berry, Or
maybe even blood. It is the idea of inexpressible happiness and passion that’s at the heart of this
poem. By depicting that happiness as something absurd, like eating poetry, Strand is showing
how impossible it is to share the true extent of one’s happiness with another person.

Unfortunately for the librarian, he has decided to eat poetry in the library. She can’t “believe
what she sees” and her “eyes are sad”. She has no idea what it’s like to experience the passion
he’s expressing. The librarian is included in this poem as a clear contrast to the speaker. There
is a good example of enjambment in the transition between lines two and three of the second
stanza.

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Already, then, the poem feels strange, surreal, and darkly comic. The reader knows that people
don't literally eat poetry, but presenting it in such a way paints reading poetry as something
pleasurable, decadent, and sensuous. It also implies that poetry is a kind of nourishment,
sustaining the imagination in the way that food sustains the body. In fact, the speaker insists that
nothing else compares to the joy he feels when gobbling up poems.
Strand's characteristically off-beat humour runs throughout the poem, but there's also a serious
purpose behind the eating metaphor. By centering the poem itself around something distinctly
poetic—something that is clearly not true in a literal sense—the poem asks the reader to engage
in the same imaginative work that the speaker so clearly relishes.

STANZAS THREE AND FOUR

The poems are gone.

The light is dim.
(…)

The poor librarian begins to stamp her feet and weep.

In the third stanza, the poet includes several more short, to the point statements about the scene.
The “poems” are gone now, he’s consumed them all. At the same time, the light of the moment
has decreased. These end-stopped lines are solid and determined. The third line of the stanza is
a surprise. Suddenly there are dogs. These dogs seem to have appeared from nowhere and are
coming up the stairs. He can’t see them, but he can hear them.

The dog’s legs are burning “like brush” and the librarian is starting to lose control of herself.
She can’t handle the scene playing out before her. The silence and relative peace of the library
are very much transformed. The imagery in these lines is impressive, it is part of the passion the
speaker is experiencing. It is the poetry that he’s consumed, that’s become a part of him, that’s
making these images real.

STANZAS FIVE AND SIX

She does not understand.

When I get on my knees and lick her hand,
(…)
I romp with joy in the bookish dark.

In the final two stanzas, the poet maintains his structure of short lines with end-punctuation. He
adds that the librarian does not “understand” what’s going on, either metaphorically or
physically in front of her. She does not understand, according to the speaker. Perhaps the speaker has some
logical, common sense explanation by which he can make her understand?
He’s been transformed, the next lines reveal, into a dog himself.
The speaker has been remade into a “new man”. He’s a lover and eater of poetry, a dog, a
re-energized and passionate lover of literature. He’s experiencing his love to the utmost and
romping with “joy in the bookish dark”. The contrasts in this poem are many but none so crucial
as this last one. The speaker, eater of poetry, dog-man, is now a new man. He has lost his old
self and become a passionate, well fed, energetic romper, happy to celebrate a love of
poetry. The librarian on the other hand, despite her job, has no real idea of what he is or what he’s experiencing.

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IMAGERY AND SYMBOLISM

Eating Poetry is a six stanza, 18 line poem, and looks formally conventional on the page. It's
contents are anything but, which is a primary contrast, perhaps set up by the poet to throw the
reader.

Each tercet (three line stanza) takes us deeper into the mind of the speaker and the bizarre
consequences that unfold once he has eaten the poetry.
There is no set rhyme scheme or meter (metre in UK) and poetic devices are thin on the ground.
But note the repetition of certain words at beginning of some stanzas, known as anaphora:

The poems...
The light...
The dogs...
from the third stanza. And in the last stanza:
I am...
I snarl...
I romp...

Very simple straightforward sentences using the most basic words known to the English
language. In stanza three 'the' is repeated three times. The most commonly used word in
English, which only ever accompanies a noun, a thing, is itself difficult to define - the poet has
purposefully used it here to create yet another sub-plot to the theme of realism versus
surrealism.

Alliteration
This device occurs in the second stanza, with relatively soft consonants:
and she walks with her hands in her dress.
And also in stanza four, again a soft consonant is used:
their blond legs burn like brush.

Assonance
Repeated vowels in proximate words occur several times. Note the following:
like mine/been eating/believe what she sees/feet and weep/she screams
Alliteration and assonance add texture to the sound and help enliven the read.

FORM AND STRUCTURE

"Eating Poetry" has six three-line stanzas, a.k.a tercets. Its language is straightforward and clear,
without steady meter or rhyme. The fact that it's broken up into these regular stanzas, then, is
one of the few things that actually marks it out as a poem. These neat, quick stanzas also make
the poem feel like it unfolds episodically, moving from scene to scene and building tension throughout.

As a poem about poetry, "Eating Poetry" is also part of a long line of meta-poetry. That is, the
speaker's voracious appetite for eating poetry might suggest poems should be enjoyed for their
sensuous qualities and not overthought.

"Eating Poetry" is written in free verse. It has no regular meter, which keeps things feeling
Instinctive and unplanned, like the speaker is simply talking as he thinks. In a way, then, the
poem's lack of meter mirrors the speaker's primal, animalistic behaviour.

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Though it has a neat stanza form, "Eating Poetry" doesn't have a rhyme scheme to go with it.
A regular rhyme pattern would probably sound too neat and ordered for a speaker who gobbles
up language with a wild and voracious appetite.
That said, the poem does end with one clear rhyme: "bark"/"dark" in its two final lines. This
closes the poem on a musical, satisfying note that evokes the speaker's delight at being filled up
with poetry.

THEMES

"Eating Poetry" is a surreal and darkly comic poem that celebrates poetry’s ability to excite the
imagination and bring joy to its readers. The poem opens with the speaker "eating poetry" in a
library, much to the startled librarian's distress. By the poem’s end, the speaker has begun to
joyously bounce around like a dog and declares that he’s "a new man—a testament to the
mysterious, transformational power of poetry.

No happiness, the speaker declares at the poem’s start, can compare to the feeling of “eating”
poetry. The speaker’s passion for poetry manifests as a rabid bodily hunger: he gobbles up
poems to the point that “ink runs from the corners of [his] mouth,” an image that presents poetry
as something delicious, messy, and indulgent.

Throughout ‘Eating Poetry’ Strand engages with themes of happiness and transformation. The
Surreal landscape that he creates allows him to depict the effects of happiness on someone who
is completely consumed by their passion. The speaker, the poetry eater, gives himself over
wholly to that which he loves, reading and writing poetry. He is remade into a “new man,” a
dog who licks the librarian’s hand.
His experience of the world is so different from hers, the juxtaposition so strong, that Strand
depicts it through a physical transformation into another species.

The nearby librarian, meanwhile, is shocked at the speaker's destructive and increasingly
Animalistic behaviour—which makes sense when readers consider that her job is to organize,
categorize, and safeguard the books in the library. But poetry unleashed, the speaker suggests,
isn’t something that can be so easily contained again; once consumed (that is, read), it can
inspire a kind of passion or intense feeling in its readers that onlookers simply can’t understand.

Thus, once the “poems are gone,” the speaker having devoured them all, things get even wilder:
Dogs arrive out of nowhere (perhaps symbolically representing the speaker's instinctive passion
for words) and, by the poem’s end, the speaker is snarling and barking himself. Whether or not
readers take this image literally, poetry clearly seems to have awakened some primal joy within
the speaker that he can’t hold back.

He also can’t necessarily articulate this joy to the terrified librarian, who “does not understand”
perhaps a reference to the way that it’s often hard to explain to others how a certain piece of art
makes one feel. But for this speaker, that’s no problem: so long as he has poetry to feast on, he
will“romp with joy.”

LITERARY DEVICES

Strand makes use of several interesting literary devices in ‘Eating Poetry’ these include but are
Not limited to alliteration, imagery, and anaphora. It is seen through the use and reuse of words
or phrases at the beginning of multiple lines. For example, “The” at the start of all three lines of
stanza three.

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Alliteration is also quite easy to spot. It is one of a number of techniques that can be sued to
Increase the rhyme and rhythm of a poem. For example, “walks with” in stanza two and
“blond,” “burn,” and “brush” in stanza four.
Imagery is another important device that is seen in the best, most evocative poetry. In the case
of‘Eating Poetry,’ there are several good examples that engage a variety of senses. For example,
the last line reads: “I romp with joy in the bookish dark”.

QUESTIONS
1.Outline Strand’s meaning of the poem Eating Poetry .
"Eating Poetry" is a surreal and darkly comic poem that celebrates poetry's ability to excite the imagination and
bring joy to its readers. The poem opens with the speaker "eating poetry" in a library, much to the startled
librarian's distress.
2. Comment on the metaphors in Eating Poetry.
The reader takes the poem in--through his mouth, not his eyes or ears. Eating it, metaphorically, he reverts to
primitive type, metamorphically. He becomes an animal, or animal-like so that "Eating Poetry" is, in a sense,
Strand's portrait of the reader as young dog.
3. Explain the message in the poem?
Message is the thing that encourages poets to create poetry. The message can be found after knowing the
meaning of poetry. Message or advice is captured by readers as the impression after reading the poem. How
the reader to conclude message poetry is closely related to the point of view of the reader toward something.
4. Discuss the symbolism of the dogs in Eating Poetry?
There's no static way of reading anything. For our purposes, the poetry eating dog-man speaker may represent
the transformations that can occur for the individual reading poetry. Only here the effect is magnified in the
matter-of-fact, physical, doggy transformation that we see.

REFERENCES
Baldwin, Emma. “We Wear the Mask by Paul Laurence Dunbar”. Poem Analysis,
https://poemanalysis.com/paul-laurence-dunbar/we-wear-masks, Accessed 11 January 2023.
Yarnall, Lauren. "We Wear the Mask." LitCharts. LitCharts LLC, 8 May 2019. Web. 11 Jan 2023.
Mark Strand, “Eating Poetry” from Selected Poems. Copyright © 1979, 1980 by Mark Strand. Used by
permission of Alfred A. Knopf, a division of Random House, Inc.
https://www.poetryfoundation.org/poems/52959/eating-poetry Accessed 11 January 2023.
Spacey,A. https://owlcation.com/humanities/Analysis-of-Poem-Eating-Poetry-by-Mark-Strand. Accessed 11
January 2023.

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3.I remember District 6 (transcribed by Adam Haupt)

Political Context:
On 11 February 1966 it was declared a white area under the Group Areas Act of 1950, and by 1982, the
life of the community was over. More than 60 000 people were forcibly removed to barren outlying
areas aptly known as the Cape Flats, and their houses in District Six were flattened by bulldozers.

The poem is an adaptation of a song by “Prophets of da City”-well known hip-hop group

in S.A. They collaborated in the late 1980s and even performed at Nelson Mandela’s
inauguration and gained traction by performing internationally with prominent musicians

I remember District 6 (1997)

(transcribed by Adam Haupt)
Child symbolizes
Ek is ‘n laaitie van Ses innocence I am a boy of six
Daai’s wat ek opgegrooi het, District 6, sien djy. Ja.¹ This is where I’ve grown up, District 6. Do you
see? 1.Yes.
I remember the days in District 6…

I remember the days in District 6,

the laughter of adults and little kids,
Hanover Street and the market loepies², metaphor: 2. energetic market runs
Goema music³ was always the heartbeat. Filled with life 3. A genre of music which influenced Cape Jazz
I remember the days in District 6,
the sound of snoek horn, Snoek horn: a horn sounded to announce the
and the ouens⁴ used to broke⁵ with a lekker song, first catch of the year. 4. Guys 5. Trade
the mister with the perd and kar⁶ used to collect scrap iron. informally
As a laaitie⁷ I was crying 6. Horse and cart
and in my o’⁸ there was a traantjie⁹ 7. boy
if I didn’t have a waentjie, 8. eye 9. teardrop
I used to take my seil plankie, rub it with kers vet and Sunlight Waentjie: wagon- playcart
soap, Seil plankie: sailboard, kers vet: candle grease
sail down the Upper Sheppard Street slopes.

This is the heart and soul of the young and old it was all
Without District 6 we’re in the cold. encompassing

Now and then my father used to gooi a braai;

On Sundays we used to jump in the Valiant and go to Hout Throw/host a braai
Baai “Krief”: Lobster
for krief and snoek or we just go to take a look. “Hoek”: corner
I remember the Cool Cats on the hoek “Mopsters”: mobsters/gangsters. Vloek: swear
And how the mopsters used to vloek “Gegroek”: drugged from smoking marijuana
when they get gegroek “Poep”: fart
and we had competitions to see who had the loudest poep The Group Areas Act
And we had problems with the Group “Skel”: scold/abuse verbally
and my ouma used to skel from the stoep “You boers must leave”
saying: “Julle boere moet loep”

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I remember, I remember the days in District 6. Repetition

I remember, I remember the days in District 6.

I used to go to school at Zonnebloem

and my cousins used to go George Golding.
I remember the whole thing as if it was yesterday
and the way we used to play Come across the bridge.
“Oupa Jimmy oupa Jimmy kom oorie brug “oupa”, “Jimmy”,”Skoeloeloe”,”kennetjie”:
Skoeloeloe en kennetjie Chidren’s street names
Every weekend we used to go to the mountain to fetch danne
Danne bolle- pine cones
bolle.
House party
I remember the huis jol Shoot/play marbles
and how we used to skiet ghatties and kap tol “handies”-girls’ clapping game and netball
while the girls played handies en net bol. Tomato stew
I remember sago pudding and tamatie bredie
and when we became needy,
the neighbours would always keep their door open. Relaxed which must be contrasted to the
In the times of hardship surviving in District 6 was hard work, last stanza
but we could always depend on the neighbours’ support.
So I’m taking it back to the dry dock, Upper Ashley Street and
the Seven Steps The people slept during the summer with the
where the mense slept during summer with the vensters kept windows open
open. Yes, New Year was always warm
Ja, Nuwe Jaar was altyd warm. We had klopse en langarm. “Klopse”-minstrels, “langarm”-ballroom dance.
We used to slat nat with a lekker stuk vastrap. “slat nat”- an expression revealing enjoyment/
We used to jap the ice cream bak, levity.
Gat sit daar agter in die jaard en…en vreet skelmpies in die We used to steal the ice cream dish.
hok. Go and sit in the backyard and slyly eat in the
shed/shack.
This is the heart and soul of young and old
Without District 6 we’re in the cold.
This is the heart and soul of the young and old
Without District 6 we’re in the cold

I remember, I remember the days in District 6.

I remember, I remember the days in District 6.

I remember when the bulldozers came.

As a laaitie it confused my brain.
The sandstrokke disturbed our game “sandtrokke”- sand trucks
What could it be? I never knew WE
were gonna lose Upper Sheppard Street 75 and 73
Boeta Doellah, Auntie Fouzie, Motjie Mary and the Baptsist “Boeta”- uncle/older brother, “motjie”-slang
Kerkie, for older muslim women. “Kerkie”-small church
or where we were going to stay.
78 to 79 it was vat jou goed en trek maar verre time. Take your stuff and move far away(also the line
I remember selling lood en scrap irons in an old Afrikaans folksong). “lood”-lead
and how we used to mines for gelukke “mines”- slang term suggesting to claim
in the stukkende huise. possession. “gelukke”- luck/ lucky finds.
We used to find old koois and dooie muise simile: “stukkende huise”- broken houses
Like luise, they threw us on the Cape Flats contempt “Koois”- beds, “dooie muise”- dead mice

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and it all happened when my father ended on his back. “luise”-lice

I remember District 6.

MOOD: SENTIMENTAL/ NOSTALGIC

TONE: LIGHTHEARTED/CAREFREE as the speaker recollects memories of his childhood BUT also TRAGIC and MENACING
towards the end of the poem when he describes forcibly removed from his home.

OVERVIEW:

Looks back on life in District 6, an area in Cape Town that experienced forced removal and the destruction of
an entire community. The speaker reflects on his life, growing up in District 6. The sounds, smells, sights as
he remembers them adds to the vibrancy of the community. The speaker looks back fondly on these times and
how senseless destruction confused his brain.
The poem has a strong sensory appeal by use of imagery which crystalizes life in District 6. As the speaker
endears us to this location and its people, the reader becomes emotionally linked by the vivid descriptions and
heartbroken at the end of the poem to learn that this eclectic place is no more.
Poetic devices:
The DIALECT helps give the poem its authentic voice – the reader is addressed as a former inhabitant of the
area
The use of the PERSONAL PRONOUN “I” –contributes to the personal quality of the recollection and the
listing of memories proves how much was lost as a result of the Group Areas Act and the Apartheid regime as
a whole

QUESTIONS:
1. List four things that the child remembers about life in District 6. (4)
2. Compare the child’s unhappiness with the images of sadness that fill the last stanza. (4)
3. Comment on the writer’s use of dialect. How does it contribute in delivering the central idea of the
poem?
(2)

[10]

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4. The Woman by Kristina Rungano

A minute ago I came from the well

Where young women drew water like myself
My body was weary and my heart tired.
For a moment I watched the stream that rushed before me;
And thought how fresh the smell of flowers, 5
How young the grass around it.
And yet again I heard the sound of duty
Which ground on me – made me feel aged
As I bore the great big mud container on my head
Like a big painful umbrella. 10
Then I got home and cooked your meal
For you had been out drinking the pleasures of the flesh
While I toiled in the fields.
Under the angry vigilance of the sun
A labour shared only by the bearings of my womb. 15
I washed the dishes; yours
And we swept the room we shared
Before I set forth to prepare your bedding
In the finest corner of the hut
Which was bathed by the sweet smell of dung 20
I had this morning applied to the floors
Then you came in,
In your drunken lust
And you made your demands
When I explained how I was tired 25
And how I feared for the child – yours – I carried
You beat me and had your way
At that moment
You left me unhappy and bitter
And I hated you 30
Yet tomorrow I shall again wake up to you
Milk the cow, plough the land and cook your food,
You shall again be my Lord
For isn’t it right that woman should obey,
Love, serve and honour her man?
For are you not the fruit of the land?

Background information on the poet

Kristina Rungano, poet and short-story writer, was born in Harare, Zimbabwe and grew up near Kuatama
Mission. She attended Catholic-run boarding schools in Selous and Harare, studied management in Britain,
and is working on a doctoral degree in computing and mathematics at South Bank University, London.
Rungano is Zimbabwe’s first published female poet, and A Storm Is Brewing (1984) is her first collection. She
has since contributed poems to the anthologies Daughters of Africa (1992) and The Heinemann Book of
African Women’s Poetry (1995) and written short stories.
Although she views her poetry primarily as a means of self-release, her themes are resonant: self-exploration,
aspects of womanhood, love, loneliness, alienation, and war are among her subjects. Her enduring strengths
include her ability to capture inwardly felt experience using a variety of personae.

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Central idea of the poem

In “The Woman,” Rungano talks through a lyrical persona who belongs to the rural scene of her country. She
represents the majority of the women who are oppressed in the macro-level societal framework, family. This
woman is seen invested in various works such as fetching water, working in the fields in scorching heat,
bearing children, doing domestic works, etc. She does what he is destined to in a patriarchal society. In
contrast, her husband stays busy in worldly pleasures without caring about the pain of his wife. He returns
home, sadistically draws pleasure from his weary wife. This cycle keeps repeating in the speaker’s life until her
death.

Vocabulary

L13 toiled - work extremely hard or incessantly

L14 vigilance - keeping careful watch for possible danger

L23 lust - strong sexual desire

Content

Line-by-Line Analysis & Explanation

Lines 1-6
A minute ago I came …

… the grass around it.

Kristina Rungano’s poem “The Woman” presents a rural woman who is married at an early age. She works all
day relentlessly under the strict schedule of duty. It is important to mention how Rungano begins her poem.
She creates a sense of urgency from the very beginning.

The speaker had just returned from the well a minute ago. She has no time to think about other things except
her family and chores. It does not happen with only herself. Several young women face a similar fate in
Zimbabwe’s rural scene.

Working under the strict vigilance of the ticking clock makes the woman’s body weary and her heart tired. In
the next line, the speaker manages to look at her surroundings. She can feel the force of the rushing stream,
the smell of fresh flowers, and the lush beauty of the grass. Here, the “stream,” “flowers,” and “grass” are used
as a symbol of youth and freedom. These images from nature are contrasted with the lives of young women
who fetch water from the well, including the speaker.

Lines 7-13
And yet again I heard …

… toiled in the fields.

The speaker has no time to heed to such uplifting thoughts inspired by nature. A “sound of duty” rings directly
from her subconscious mind. She has to leave her self-fulfilling thoughts aside and attend to duty’s tough call.
The speaker is still a girl. Naturally, she has to be drawn to nature’s freeing call. In reality, she can’t.

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The bond of marriage has already chained her wings. It has clipped her young feathers right before she could
learn to fly. The sound of dutifulness feels like a heavy burden on her back. But, she has to carry it throughout
her life and pass it onto her next generation, especially her daughters.

The burden makes her feel old. As she bears the “great big mud container,” a symbol of women’s
responsibilities, she can feel how withered her heart is. It is not her age but her duties that make her feel aged.
In the next line, Rungano uses a simile in order to compare the earthenware to a “big painful umbrella.” The
“umbrella” of patriarchy gives women apparent protection by drawing out their personal desires and sense of
freedom.

After fetching water from the well, she got home and cooked a meal for her husband. As she works without any
break, her husband has been out drinking and carousing with his friends. He keeps himself busy in the
“pleasures of the flesh,” a metaphor for drinking and having intercourse. In contrast to that, his wife toiled in the
fields to make a living for both.

Lines 14-21
Under the angry …

… applied to the floors

Rungano uses an important symbol in the first line of this section, “the angry vigilance of the sun.” As readers
can see here, the “sun” is depicted as a male counterpart. With its scorching heat, it intensifies the suffering of
the woman toiling in the fields. Like her husband is indifferent to her suffering, so is the sun. Unlike the
symbolic significance of the “sun” in other romantic poems, here the sun is depicted as a tyrant, a vigilant
overseer of women’s suffering.

Nobody is there to share the suffering of the woman. Interestingly, only her “womb” is there to share her pain of
childbearing. It hints at the fact that the woman is pregnant. Given the fact that she is bearing a child, her
husband does not even care to look after her or even help her with her chores.

After returning from the fieldwork, the speaker washed the dishes. Rungano especially emphasizes the term
“yours” (the husband’s) by using a semicolon. In the next line, she dexterously uses the pronoun “we” that
readers may ignore while reading. Here, “we” include not the speaker’s husband but the child she is
bearing.

In reality, she swept the room her husband also shared. Then, she prepared his bedding in the finest
corner of the hut. These lines hint at the privilege a man enjoys in his family. Most of the work is done by
the woman, but the man is there always to receive special perks like having the finest corner in the hut. She
bathed his husband’s cost corner with the “sweet smell of dung” that she applied to all the floors.

Lines 22-30

Then you came …

… I hated you
Finally, the lord, with his drunken gait, came in. Then he made his demands to the speaker without
looking at her condition. She tried to explain how weary she was after all day’s work. But, he did not
care. She brooded over the infant in her womb that was also his child.

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The agonized words could not soothe the patriarch’s, cold heart. He beat her and forcefully had his
way into her. After he had satisfied his lust, he left her like an object.

The speaker felt unhappy and bitter. She hated him after all he did to her. But, who was there to listen
to her agonized request? She had to suffer the pain alone.

Lines 31-36
Yet tomorrow I shall again …

… the fruit of the land?

This abominable cycle keeps repeating in women’s lives. Readers can find this scene in any rural society of
the world. The unspeakable suffering of women is universal in nature. This cycle has been in motion from time
immemorial.

The next day, the same woman who was tortured last night by her husband and her duties should wake up to
his duties. She had to milk the cow, plough the land, and cook his food as usual. He should be her divine
“Lord” again. Here, Rungano capitalizes the first letter of the term for sake of emphasis. It also has an ironic
undertone.

The last three lines contain the crux of the poem. These lines pose two important questions to society. Firstly,
the speaker asks whether it is not right that a woman should obey, love, serve, and honour her man. Here, she
tries to say that women are destined to be subjugated figuratively. Then she uses a patriotic metaphor, “the
fruit of the land.” She asks whether women are not the fruit (children) of the land. This question is not for the
women to answer. Rungano asks this question to men.

Structure and Form

Rungano’s lyric poem “The Woman” contains 36 lines that are grouped into a single stanza. As there is no
regular rhyme or meter, it is a lyric poem. Besides, the text is written from the perspective of a first-person
speaker (a rural woman) who talks about the cyclical suffering of womanhood. This piece showcases the
feature of 20th-century confessional poetry, where the speaker talks about the untold cruelties, mental agony,
and hopelessness. Apart from that, Rungano stylistically uses dashes in some instances for the sake of
emphasizing particular terms: “And how feared for the child – yours – I carried.”

Themes

Rungano makes use of a number of themes in her poem “The Woman.” These include patriarchy,
womanhood, women’s suffering, and struggle, motherhood, and society. The poem revolves around a
Zimbabwean rural woman who has been married at a young age. She does all the domestic work and looks
after her family. Even she has to work in the fields under harsh weather in order to make a living. In contrast,
her husband does nothing but intensify the suffering of the wife. Through this story, Rungano shows how a
woman is treated in a patriarchal framework. The last two lines pose a serious question to readers regarding
how women are brainwashed to take up their gender roles.

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Poetic /Language devices

Rungano’s “The Woman” contains the following poetic devices that make the subject matter more appealing to
readers.

• Enjambment: It occurs throughout the text. Rungano uses this device to make readers go through
consecutive lines to grasp her idea. For instance, she enjambs the first three lines of the poem.
• Simile: This device is used in the following lines: “Where young women drew water like myself” and “As
I hire the great big mud container on my head/ Like a big painful umbrella.”
• Imagery: The poet uses olfactory imagery in the phrases “the smell of flowers” and “sweet smell of the
dung.” She uses visual imagery in “the stream that rushed before me,” “How young the grass around,”
“the great big mud container on my head,” etc. Besides, she also uses organic imagery in order to
convey the internal feelings of the speaker.
• Metaphor: Readers first come across a metaphor in the phrase “sound of duty/ which ground on me.”
Here, the sound comes from the speaker’s subconscious mind and keeps her tied to her role as a
dutiful mother, devoted wife, and relentless worker. Rungano also uses this device in these phrases,
“the pleasures of the flesh,” “angry vigilance of the sun,” etc.
• Repetition: There is a repetition of the term “big” in lines 9-10. It is used to emphasize the magnitude
of the speaker’s burden.
• Personification: The poet personifies the “sun” as an angry, vigilant, and male representative. It
symbolizes ever-watchful patriarchy.
• Rhetorical Question: The poem ends with two rhetorical questions asked indirectly to the patriarchs,
with an undertone of bitter sarcasm.

The last three lines contain the crux of the poem. These lines pose two important questions to
society. Firstly, the speaker asks whether it is not right that a woman should obey, love, serve, and
honour her man. Here, she tries to say that women are destined to be subjugated figuratively. Then
she uses a patriotic metaphor, “the fruit of the land.” She asks whether women are not the fruit
(children) of the land. This question is not for the women to answer. Rungano asks this question to
men.

Questions and Answers

1.What is the poem “The Woman” about?
Kristina Rungano’s poem “The Woman” is about women’s life in Zimbabwe’s rural scene. Rungano describes
how a woman has to perform her duties relentlessly and serve her lordly husband throughout her life.

2. Who is the speaker of “The Woman”?

The speaker of this poem is a young woman who is married at an early age. Rungano uses the first-person
narrative technique in order to describe her feelings and sufferings to readers.

4. How does Kristina Rungano describe the woman’s suffering in her poem “The Woman”?
Rungano talks about a woman who is seen chained to her duties. She works under a strict schedule.
Alongside that, she has to work in the fields for a living. On top of that, her drunken husband intensifies her
suffering by his indifference.

5. Why does the poet repeat the adjective “big” in lines 9-10?
Rungano repeats the term in the lines, “As I bore the great big mud container on my head/ Like a big painful
umbrella.” This repetition depicts the magnitude of the speaker’s pain and her duties.

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6 .What is the tone of “The Woman”? What effect does it create in the poem?
The tone of this piece is complaining, sad, and hopeless. By using a complaining tone, Rungano tries
to pose a series of questions to patriarchal society. It makes the speaker’s case more piercing and
appealing to readers.

7. Why does Rungano depict the sun as angry and vigilant?

Rungano uses the “sun” as a symbol of patriarchy. Neither the woman’s husband nor the sun cares
for her suffering. It rather intensifies her pain with scorching heat.

8. What do the lines “And thought how fresh the smell of flowers,/ How young the grass around it” say
about the speaker?
These lines hint at the fact that the speaker’s heart is still young. But, the burden of her duties makes
her feel aged. Rungano uses these images to contrast them with the speaker’s condition.

9. Why is the speaker’s heart tired?

The speaker’s heart, the source for personal desires, is tired of the burden of her duties. She has no time to
think about herself. For this reason, her heart is gradually weakened.

10. What does the line “For you had been out drinking the pleasures of the flesh” mean?
This line hints at worldly pleasures such as drinking and having sex. The speaker’s husband keeps himself
busy in entertainment while she works throughout the day.

11. Why does Rungano use dashes in the line “And how I feared for the child – yours – I carried”?
The use of dashes naturally puts emphasis on the term “yours.” Here, the speaker wants to point at the fact
that the child she is bearing also belongs to her husband. But, he does not care about either her or the child.

12. What do lines 31-36 say about the speaker’s mental state?
The last few lines of the poem describe the cyclical nature of the woman’s suffering. No matter how tired she
was for the last night’s torture, she should wake up the next morning and have to follow the same routine. She
dejectedly asks herself whether women are destined to serve men.

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5 .Hanging Fire by Audre Lorde (1934 – 1992, USA)

I am fourteen
and my skin has betrayed me
the boy I cannot live without
still sucks his thumb
in secret
how come my knees are
always so ashy
what if I die
before morning
and momma's in the bedroom
with the door closed.

I have to learn how to dance

in time for the next party
my room is too small for me
suppose I die before graduation
they will sing sad melodies
but finally
tell the truth about me
There is nothing I want to do
and too much
that has to be done
and momma's in the bedroom
with the door closed.

Nobody even stops to think

about my side of it
I should have been on Math Team
my marks were better than his
why do I have to be
the one
wearing braces
I have nothing to wear tomorrow
will I live long enough
to grow up
and momma's in the bedroom
with the door closed.

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Background
Audre Lorde is an American poet who published her first poem when she was a teenager. She first worked as
a school librarian and went on to lecture at various colleges and universities. She is a founder member of two
organisations: Kitchen Table: Women of Colour Press and Sisters in Support of Sisters in South Africa. She
has published poetry and prose and has received national book awards.

Gist
The poet was 44 years old when she wrote this poem. The speaker in the poem is a 14- year- old girl. This is a
sad poem which centres on a girl who is coming of age and is worried about her life. The poem focuses on
teenagers and the issues they confront: relationships, the fear of isolation, living in a sexist society and death.
The speaker believes that the entire world is against her. She believes that no one is concerned about the
effects these issues will have on her, most especially her mother.

Title
Hanging Fire means to delay action, to stop progress or to hang back. The title is relevant as many of the
speaker’s issues could cause her to delay progress in her life (arrested development). The title contains a gun
metaphor. It is not about guns or gun malfunction but about adolescence – a dangerous time between
childhood and adulthood, a long and risky pause. By using this metaphor, Lorde is alerting us to the threat in
the poem. There’s a threat underlying the teenager’s anxieties and there’s a threat in the repeated lines ‘and
momma’s in the bedroom/with the door closed’.

Theme
The speaker appears to have an inferiority complex based on the colour or appearance of her skin, the
immaturity of her love interest, being marginalised academically, her fear of dying prematurely, the difficulty of
adolescence and the neglect of her mother. Themes include self- loathing, sexism and dejection. The speaker
feels lonely, ugly, unequal and neglected throughout the poem.

Structure and Form

The poem is written in free verse. There is no regular rhyme scheme. It is written in 3 stanzas with 11 – 12
lines each. The lines range in length from two syllables up to seven.
Almost all lines are enjambed and this device is used effectively to suggest that the speaker moves from one
worry to the next without a pause.
The structure reads like a list. The ideas seem unconnected and random. There is no punctuation except for
the full stop at the end of each stanza. It mimics how a teen would think about her problems and articulate
them. Her ideas go from the mundane (ashy knees) to serious (what if I die…) as if they are equally important
to her.

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Poetic Devices

Enjambed lines: refer to notes under structure above.

Repetition: ‘and Momma is in the bedroom/ with the door closed’

Lines 10-11/lines22 – 23/lines 34 – 38. The repetition of these lines are symbolic as the speaker repeats them
at different points in her rumination, highlighting her need for her mother’s presence, comfort, maternal wisdom
and counsel. These lines introduce the tone of sadness and heartbreak and intensifies her isolation from her
mum. It suggests that her life will just be easier if she had access to her mother. The reader resents the mother
for her insensitivity to her daughter’s needs. The reader feels the speaker’s loneliness and anxiety. The reader
is conscious that the poet is 44 years old, writing as a teenager and becomes conscious that the 14 year
survived independently of her mother’s love and support. This repetition reinforces the message to teenagers
that the teenage years are difficult – everything appears to be a colossal problem – but these years are but a
phase before adulthood – they will pass. It is a reminder to self-indulgent insensitive parents to be present and
active in their teenager’s lives.

The idea of dying prematurely is repeated in all three stanzas:

L8 – ‘what if I die’
L15 – ‘suppose I die before graduation’
L32 – 33 – ‘will I live long enough to grow up’
This repetition establishes a tone of morbidity. It reinforces the speaker’s fear of death. Her suffering is in sharp
focus when the reader sees that she has no one to help her or soothe her fears.

Imagery
Personification: line 2 – ‘my skin has betrayed me’. Her skin is personified and is given the ability to betray
her. Teenagers have acne breakouts – it is normal but the personification highlights how she feels like the
whole world is working against her, including her own skin. This reference could also be evidence of
discrimination based on the colour of her skin.
Hyperbole: Line 3 – 4. She feels like she cannot live without the boy she is infatuated with, even though he is
immature. Her feelings are extreme/exaggerated.
Alliteration: lines 4-5 ‘still sucks … secret’
Line 16 – ‘sing sad…’
These repetitions add rhythm to the poem.

Analysis
The poem uses simple words and language. A line by line explanation is therefore not necessary. However,
each stanza reveals the extent of both mundane and serious issues that the teenage speaker experiences.

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Stanza One
The speaker reveals herself as a 14 year- old girl who is grappling with various issues. She has acne and
personifies her skin as a betrayer. This could also be interpreted that as a young black girl, she has
experienced discrimination because of the colour of her skin. Teenagers are typically attracted to the opposite
sex but the boy she is infatuated with is immature as he still sucks his thumb in secret.(lines 4-5 alliteration)
And if that’s not enough problems for one teenage girl, she has dry ashy knees. However, the speaker is not
only concerned by these seemingly small issues. She is afraid that she will die suddenly. She has a mother but
her mother is oblivious to her daughter’s teenage angst as she is closed off to her daughter, both physically
and emotionally.
The speaker is presented as one who is insecure and lacks confidence about her appearance, her boyfriend
and she fears death. She asks several questions to which the answers are unknown. She is isolated from her
mother and is desperately lonely. She yearns for some maternal wisdom and counsel. Lines 10 and 11
introduce a tone of sadness.

Stanza Two
Stanza two shows further ruminations (flow of thoughts) from the speaker. There is an urgency for her to learn
how to dance but her room is too small for her to practice dancing in it. Once again, she stresses about dying
suddenly, but this time before graduation. She is seriously concerned about how others view her but believes
she will only find out the truth at her funeral. Perhaps she has chores (there is nothing I want to do) but she is
aware that there is too much to be done. Perhaps she is feeling like she will not have enough time to do the
‘too much that has to be done’.
She repeats the idea of not having access to her mother when she repeats ‘and momma’s in the bedroom with
the door closed. (Lines 23 -24)
The speaker is presented as a self-conscious girl with low self - esteem. There appears to be nothing positive
about her life. Line 15 – ‘sing sad melodies’ is an alliteration. It also adds to the sombre tone of the stanza
where the speaker contemplates hearing ‘the truth’ about herself at her funeral. She is a confused teenager
who knows there’s much to do before she dies but with the absence of adult/maternal advice, support or
comfort, her isolation, loneliness, confusion and fear of death are intensified.

Stanza Three
The speaker reveals her frustration when she says in lines 24 – 25 ‘nobody even stops to think about my side
of it. She experiences discrimination and sexism when a boy is favoured over her on the Math team. A serious
issue followed by a typical teenage concern when she has to wear braces along with not having anything
suitable to wear the next day. Once more she voices her fear of dying prematurely. She deals with these grave
concerns all alone whilst her mum remains in her bedroom with the door shut.
The speaker feels as though she is overlooked by the world. She is not in control of her own world and she
really doesn’t want to be the one wearing braces or be the one with nothing to wear. Her tone of regret and
frustration is evident throughout the stanza. Yet again she asks questions which go unanswered – a reminder
that if she spoke to her mum about these issues, perhaps her mum would be able to assure her that her
concerns for her life are normal. By this stage, the reader is heartbroken for the speaker and resents the
mum’s insensitivity. Of course, the teenager has no idea that her thoughts are totally normal and part of
growing up. What is not normal is the absence of her mother’s love, comfort and support during these crucial
years of the speaker’s development.

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Questions:
1. Name four issues that confront the speaker of the poem.
2. What does the line ‘I should have been on the Math Team/ My marks were better than his’ reveal about
the society in which the speaker finds herself?
3. How does the line, ’my skin has betrayed me’ contribute to your understanding of the speaker of the
poem?
4. Comment on the effectiveness of the lack of punctuation in the poem.

Answers:
1. The speaker is confronted by issues relating to her skin, boys, how to dance, the size of her room,
dying young, graduating, and needing to be responsible, education, braces and what to wear. (any four
issues)
2. The speaker has been overlooked for the Maths Team as the place she feels entitled to has been given
to a boy. As a young black girl, she has presumably experienced such discrimination previously.
3. The speaker is a young black girl who may have experienced discrimination throughout her life. She
could be referring to how the colour of her skin has betrayed her in a society where she encounters
prejudice against women and race.
Alternately, as a teenager, an outbreak of acne can be considered a betrayal. She personifies her skin
as a betrayer and it has made her feel ugly and unacceptable.
4. The lack of punctuation helps to reinforce that the speaker is young, is not planning or choosing her
words carefully but rather pours out her frustrations and criticisms in a colloquial way. One sentence
merges into the next to show that she does not pause or consider, as there are countless concerns in
her life.

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6. DA SAME DA SAME BY SIPHO SEPAMLA

I doesn't care of you black
I doesn't care of you white
I doesn't care of you India
I doesn't care of you clearlink
if sometimes you Saus Afrika 5
you gotta big terrible, terrible
somewheres in yourselves

I mean for sure now

all da peoples is make like God
an' da God I knows for sure 10
He make avarybudy wit' one heart

for sure now dis heart go-go da same

dats for meaning to say
one man no diflent to anader

so now 15
you see a big terrible terrible stand here
how one man make anader man feel
da pain he doesn't feel hisself
for sure now dats da whole point

sometime you wanna know how I meaning for 20

is simple
when da nail of say da t'orn tree
scratch little bit little bit of da skin

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I doesn't care of say black

I doesn't care of say white 25
I doesn't care of say India
I doesn't care of say clearlink
I mean for sure da skin
only one t'ing come for sure
an' da one t'ing for sure is red blood 30
dats for sure da same, da same for avarybudy

so for sure now

you doesn't look anader man in de eye

BACKGOUND INFORMATION ON THE POET

Sipho Sepamla was born in 1932 in Krugersdorp, uses his poetry are a medium for protesting against what he
sees as Black inequality and injustice. He is identified with the official Black Protest Movement. He has striven,
through the medium of poetry to waken Black Consciousness. He has written novels as well as poetry.

CENTRAL IDEA OF POEM

The poet is making the point that no matter what the colour our skin is, or what race group we belong to ,we
are all made alike and we all feel alike , therefore we should not try to deceive another man or hurt him in any
way. The apartheid era was a time when groups of people deemed other groups of people as lesser humans. It
was a traumatic life experience for so many who were denied their basic humanness. Sepamla questions how
one human can do this to another, knowing that at the core, each of us feels the same pain

The poem has a pleading but also mildly threatening tone. While the body of the poem is mostly repetitions on
the theme of sameness, the closing repetition is a reminder that we all bleed the same. The final line tells white
South Africans that they should be ashamed to look in the eyes of black South Africans until they correct these
wrongs.

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VOCABULARY
Title: Da Same ,da Same - the same,the same
L4 clearlink - mixed race, coloured
L5 Saus Afrika - South Africa
L6 gotta big terrible - got a lot of trouble
L10 da God - the God
L11 avarybudy wit one heart -everybody with one heart which looks the same
L 12 go-go - beats
L13 dats - that is
L14 diflent to anader - different from another
L16 big terrible terrible stand here - there is a big problem here
L18 hisself - himself
L19 dats da whole point - that’s the point of the argument
L20 how I meaning - what I mean
L21 is simple - the answer is easy to understand
L22 da nail - a thorn
da t’orn tree - from a thorn tree
L23 little bit - a small part
L29 t’ing - thing
for sure - is certain
L33 you doesn’t look anader man in de eye - you should try not to deceive
another man

ANALYSIS OF THE POEM

STANZA 1
The poet begins by telling us that no matter what race or colour we are, black,white ,Indian or of mixed descent
,if we claim to be South African then there is a big problem deep within ourselves.
STANZA 2
We are all made in the image of God and the heart which beats within each of us looks the same, no matter
what colour or race ,God does not discriminate.
Line 16 ‘go-go’ Onomatopoeia - sound of a heart
All the same - should exist as one collective heart

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STANZA 3
The heart which looks the same also beats in the same way, therefore no man is different from another.
STANZA 4
Therefore if we all are the same there is a big problem here in South Africa . The speaker asks how one man
can inflict pain on another
This is a rhetorical question which the speaker thrives to answer, yet there is not a satisfactory answer
available if we assume that everything he has said so far is true. That is, all men are made in the image of
God, therefore all men are equal in the sight of God. No one has the right to treat anyone else in the same way
he would not like to be treated.
STANZA 5
Now the speaker tells us that if we really want to know what he means, then he will tell us as simply as
possible .He uses as an illustration a thorn, which he calls a nail, from a tree. He begins to explain that if this
thorn scratches your skin, no matter how small the scratch might be (the result will be the same). The last part
of this sentence has been put in brackets because the speaker does not complete the analogy until the latter
part of the following stanza.

Notice the way he uses the traditional technique of the story teller. He builds up the tension, bit by bit, with
rhetorical questions, until we are ready for his story. Then he begins to tell it to us. The analogy is a simple one
to which everyone can relate. All the listeners will be able to relate to a thorn from a tree, for it will be a familiar
object.
STANZA 6
In order to emphasis his message the speaker repeats the list of colours and nationalities which he made
initially ,so making certain that everyone will be aware that they are being spoken to. Only when the full ritual
opening has been repeated does he complete his analogy. There is, however, a difference.
In the opening stanza he said : ‘ I doesn’t care of you black’
but here he says: ‘I doesn’t care of say black’

The one word difference brings the emphasis away from the person generally and puts it onto what he says or
she says. The narrator does not care what the people of any the groups say. The only thing that he cares
about is the certainty of what he knows to be true.
No matter what the colour of man’s skin, if it pricked by a thorn the blood which comes out will be red. This is
not an assumption but a fact- the blood from everybody is the same.
STANZA 7
Now that this message has been made clear, man to should learn not to upset or get annoyed with other
people, for ultimately all people are the same.

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STRUCTURE AND FORM

The style of language is intended to replicate the language of the uneducated black man speaking a language
that is not his own.
The circumstances are such that we can imagine that the narrator as a rural story-teller, using language which
is simple as well as using examples with which his listeners would be familiar
so that everyone can identify with what is being said .
The language is simple to reflect the thoughts of a simple man who does not express any elaborate or complex
ideas.
No single stanza is the same. Reflects the content.
Everyone is different, yet still part of the same collective whole
The poem is written in free verse with no rhyme scheme or regular rhythm. The stanzas are also of irregular
length. One could say that this irregular form is part of the protest against the regulated and strict life that
blacks were forced to live in South Africa.

SYMBOLS AND IMAGERY

The choice of the heart as a symbol is a clever one, for not only are all hearts physically alike, but the heart
has been seen as the place from which emotions stem.
The speaker choses a thorn (nail) as his symbol of pain, for people of the rural area would be familiar with the
pain inflicted by the thorns when they inadvertently come into contact with the skin.
However the use of the word ‘nail’ is no accident, for it was a nail which was used to inflict pain on Christ.
Therefore a close parallel is being drawn between the pain inflicted by modern man on his fellow human
beings and the pain inflicted by man two thousand years earlier on Christ. Notice the way the speaker uses the
thorn as an object which inflicts pain by accident but the nail is an object by which man inflicts pain
deliberately.
There is a second parallel as well. When Christ had been nailed to the Cross, the persecutors inflicted
additional pain by pressing onto His head a crown of thorns
‘if you prick us do we all not bleed’
We are all the same we must also accept that it is not right for one man to think himself better than another

QUESTIONS.
1. Why does the poet use of repetition in stanza 1?
Emphasizes that we are all human beings
The colour does not make us superior/ inferior

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2. Why does the poet chose to mention God in stanza 2

We are all made in the image of God. The poet wants to highlight that we are only different in terms of our race
and skin colour but we should not be separated or divided because of this.
3. What is the 'big terrible' which South Africans have within themselves (line 16)?
We consider ourselves superior to others. This attitude does not foster good relations between race groups.
4. Comment on the tone of the speaker in conveying his message.
Angry, annoyed at the racial discrimination and the injustices suffered by the black man.
5. Comment on how the structure of the poem reinforces the speaker’s message.
The poem consists of free verse and irregular lines , following no set pattern or structure is in itself a way of
protesting against the restrictions that existed .Almost saying that black people were breaking the restrictions
and freely expressing themselves.

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7 .Anthem for Doomed Youth – Wilfred Owen

What passing-bells for these who die as cattle?

— Only the monstrous anger of the guns.
Only the stuttering rifles' rapid rattle
Can patter out their hasty orisons.
No mockeries now for them; no prayers nor bells;
Nor any voice of mourning save the choirs,—
The shrill, demented choirs of wailing shells;
And bugles calling for them from sad shires.

What candles may be held to speed them all?

Not in the hands of boys, but in their eyes
Shall shine the holy glimmers of goodbyes.
The pallor of girls' brows shall be their pall;
Their flowers the tenderness of patient minds,
And each slow dusk a drawing-down of blinds.

Background information on the poet

Wilfred Owen was born in England in March 1893 and died in November 1918 on the battlefield. He was only
25 years old. Owen’s death is especially tragic as he died just one week before the end of the war. He was one
of the leading poets of the First World War. His poetry was based on the horrors of war that he personally
witnessed.

Gist of the Poem

This poem laments the loss of young men on the battlefield. War is normally associated with heroism,
patriotism, pomp and ceremony. However, Owen shows us the cruel reality of war which is hidden from the
public.

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Vocabulary
Title Anthem a song of praise
Line 1 passing bells bells rung immediately after a death as a signal for prayer
Line 2 orisons prayers for the dead
Line 5 mockeries false pretences
Line 7 demented insane or mad
Line 7 shells bombs
Line 8 bugles trumpet-like brass instruments used in the military
Line 8 shires counties, the name for regions in England
Line 12 pallor unhealthy pale appearance
Line 12 pall cloth spread over a coffin

Analysis of the Poem

The title of the poem is a paradox. An anthem is normally used to express love for the homeland but in actual
fact in this poem they are sending young soldiers to war where they are unlikely to get back because of their
doomed fate.
The poem starts with a rhetorical question: ‘What passing bells for these who die as cattle?’
‘Passing bells’ are traditionally rung when someone has passed on. The speaker questions what good ‘passing
bells’ and other rituals have in a situation such as this. The poet tries to capture the tragic waste of young lives
and the undignified way in which they die like cattle in an abattoir. Line 2 tells us that the only sound that
resembles the traditional bells is ‘the monstrous anger of the guns.’ The guns are personified and their sound
is compared to the sound of anger. It is as if the guns are reflecting the feelings of the soldiers. The sounds of
the rifles smothers the orisons (the prayers) of the men. Any religious ritual for these soldiers would undermine
their deaths and would be an insult to them. There could also be a suggestion that there is no time to stop and
pray for those who have died. These young soldiers are not accorded the respect and dignity that they
deserve.
The words ‘No mockeries now for them’ suggest that it would be a travesty to pray for them while soldiers
continue to be killed. He points out that there are neither special occasions nor pleasant ceremonies on the
war front. There are no voices of mourning and no choirs heard for them except the sounds of the weapons
(bombs). Owen’s use of ‘shrill’ and ‘demented’ add to the extreme madness of the battleground and the
relentless ear-shattering sounds that are heard.
The eighth line suggests that as the men die, the bugle sounds are all they will hear, reminding them of home
and the grief that their deaths will cause.
The sestet speaks about those back home who mourn the loss of their loved ones. The sestet starts with a
rhetorical question. The speaker asks what candles will be lit for the young men to illuminate their way to the
next life. He says there will not be any altar boys holding candles for them. Instead, there will be only ‘holy
glimmers of goodbyes’ shining in the eyes of the fellow young soldiers who are also doomed to die. The
phrase’ holy glimmers’ suggests gentleness and perhaps innocence considering the fact these men are very
young.
At some funerals, a pale or white cloth is used to cover the coffin. However, in this situation, this does not
happen. The only white covering for these men is the whiteness or paleness of the ‘girls brows’ back home.

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The soldiers’ loved ones back home will be stricken with grief. There are also no flowers for the soldiers. They
only have ‘the tenderness of patient minds’ – it is just the tender memories held in the minds of their loved
ones.
The final image is that of blinds being drawn in respect of the dead. This is yet another tradition to mark the
loss of those who have passed on; curtains and shutters are closed to create a dark interior and to signal to the
community at large that the dead are acknowledged.

Imagery
Wilfred Owen uses powerful images and many sound techniques to illustrate the brutality and
meaninglessness of war. He uses alliteration to create sounds in the reader’s mind when reading them, like for
example ‘rifles rapid rattle.’ The choice of these three words introduces a short, staccato rhythm, exactly as
gun shots would ring out rapidly. Owen also uses personification when he refers to the ‘monstrous anger of the
guns.’ He personifies guns to show how much they were used and the destruction that they caused. He also
used the simile ‘die as cattle’ to create a sense of the inhumane treatment of the soldiers. Men are slaughtered
like cattle.

Form and Structure

‘Anthem for Doomed Youth’ is a Petrarchan sonnet made up of an octave and a sestet. The octave is
dominated by the sound of battle and the sestet is characterised by the grief of the soldiers’ loved ones.

Themes
One of the central themes of this poem is the futility of war. This poem can be seen as a protest against war.
Young lives are lost in vain. In the past, war was glorified and it was seen as a great honour to fight for your
country. However, Owen depicts the tragedy of war. Young men die in the chaos of battle. Those who lost
loved ones were not present at the burials of their young men and are left devastated by their loss.

Questions
1. Comment on the irony in the title of the poem.
2. What effect is achieved by using two rhetorical questions in the poem?
3. What does the simile ’die as cattle’ suggest about the deaths of the young soldier s?
4. Show by contrasting the rhythm in line 3 with that of line 14, how the poet effectively used rhythm to
enhance his ideas.
5. How does the poet convey his attitude to war in the octave?

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8.The Ride – Joyce Chigiya (1960 - Zimbabwe)

A relay of notes in untidy piles

is played back to front
the partially displaced tout
bending his jean-clad butt
through an open window
holds on tight lest he be puked
by this bursting vehicle
as he relays back change
Please pay the fare, we buy fuel
from the black market

Background
Joyce Chigiya is a Zimbabwean poet who teaches English as a second language in a rural school. Several
poems of hers were published in magazines even though she considers herself a learner poet. Some of her
poems were also translated into Chinese and published in an anthology entitled “No Serenity Here”. Her
enjoyment of poetry began as a student where she studied four South African protest poets as a project. Joyce
also writes short stories.
Joyce was amongst the first intake of students at the University of Zimbabwe where she studied teaching. In
2004/2005 her poems were included in the Crossing Borders Writing Project Zimbabwe. She has also worked
on gaining basic literacy in music.

Gist
This is a descriptive poem of a scene in an overloaded taxi, carrying paying passengers. They pay a fare to a
‘cool’ young man who returns their change and insists they pay their fare as fuel is very expensive and is
bought illegally.

Relevance of the Title

On the literal level, it refers to passengers traveling in an overloaded taxi. On a figurative level, it refers to
people being ‘taken for a ride’ – citizens being ripped off by a corrupt government that does nothing to protect
passengers from being cheated/exploited/deceived by ruthless taxi operators.

Form and structure

This is a descriptive poem that comments on the conditions in Zimbabwe – a brief and vivid snapshot of a ride
in a taxi. It is a 10 line poem that has no pattern, rhythm or rhyme.
The language is simple, making use of simple, everyday words that have unpleasant connotations. The poem
relies on multiple meaning of words to communicate the sharply critical tone. Enjambment (run on lines) sets a
fast pace (Tempo) and creates the mood of a busy and chaotic taxi ride. The typography of line 5 is effective.
Line 5 “through an open window” creates the mental image of something dangling over an edge.

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Poetic Device
“The Ride” makes use of diction to create a play on meanings and in this way creates a literal and figurative
interpretation of a ride in a taxi. There is an interesting play on words throughout the poem. It appears simple
yet careful reading shows its value in the poem. It demands that the reader think on multiple levels to gain
insight and appreciate the poem.
“Ride” - literal level – journey and its associated conditions
Figurative level – taken for a ride as in being cheated, deceived or exploited
Line 1 – “Relay” – refers to passing something ( in this case, money) from one person to another much like
how an athlete passes a baton in a relay race. The stop points of this journey are dependent on this ‘relay‘ of
notes.
Line 1 – “Notes” – refers to paper money. On closer examination, it refers to the fact that coins have no value
as the Zimbabwean currency was seriously devalued. The word ‘notes’ could also refer to musical notes –
taxis are noted for playing blaring music that moves from “back to front” and “front to back” in a taxi.
Line 2 – “back to front” – on a literal level, this refers to direction - the money being passed from the
passengers at the back of the taxi to the “tout” at the front of the taxi. Figuratively, it refers to a system that has
the wrong order, an indication of the corruption and disorder in Zimbabwe.
Line 3 – “Tout” – literally the word refers to what/who we would call a conductor – someone who collects the
fare. By definition, a tout is one who sells things unofficially, for a higher price. He /she exploits the buyer
because of a specific need or want – exactly as the tout in the poem does.
Line 6 – “puked” – is a colloquial term for vomited. When a person overeats (like the taxi is full beyond
capacity), he/she is nauseous and uncomfortable until he/she vomits (the passengers are uncomfortable until
they reach their stops and are “puked” from the taxi.)
Line 7 – “bursting” – the word suggests something that is dangerous and painful – a suggestion that the taxi is
so full, it is a threat to the safety of the passengers.
Line 10 – “black market” – the first reference is to the fact that fuel to run the taxi is obtained illegally – on the
black market. Fuel is a controlled commodity that is obtained from official sources. However, conditions in
Zimbabwe were so dire that official sources were unable to provide and it became an extremely expensive
commodity on the black market. “Black market” is also a reference to the cultural group – The Zimbabwean
Nationals who make use of the taxi services.

Symbolism and Imagery

History records that the Zimbabwean economy collapsed because of a corrupt and inefficient political system
and many of the country’s citizens sought refuge in other countries. The taxi represents Zimbabwe and its
passengers represents all Zimbabwean citizens. The taxi is operated under corrupt circumstances as was the
government of the day. The citizens are exploited and corrupt government officials gained exactly as the tout
exploited the passengers and benefitted from the high fares charged.
Alliteration
L9 – “please pay”
L10 – “fuel from”

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Sounds add to the sense that these words are being said aloud. They are carefully enunciated so that their
passengers can hear.

Personification
Line 6 – the taxi is given the ability to vomit its passengers out.

Analysis
Lines 1 – 2
‘money’ is the opening image. The notes are passed from hand to hand to the tout at the front. Money is
described as piles – hinting at the low value of the Zimbabwean currency. ‘Piles’ suggesting much money is
required for anything – even taxi fare.
‘notes’ – is a reference to paper money and the loud music played in the taxi.
‘relay’ – refers to the taxi moving from stop to stop based on money passed from hand to hand like a baton
within the taxi.
‘played’ – suggests a game – linked with how passengers are played with for the financial gain of the taxi
operators.
‘back to front’ – on the literal level, it refers to passing money in a certain direction. Figuratively, it refers to a
system that is seriously wrong. It alludes to the corruption, chaos and disorder within the Zimbabwean
government that led to the collapse of the country’s economy.
Emphasis is on the multi-layered connotations of the diction,
It establishes a sharply critical tone – a criticism of the operation of systems in Zimbabwe.
Lines 3 – 5
The tout sits in the window collecting the money. The taxi is so full that he is ‘displaced’ from a seat. He is
hanging from an open window. ‘Butt’ is a colloquial reference to the rear of his anatomy, uncomfortably and
dangerously protruding through the taxi window. This is risk he takes to ensure his income. The word ‘tout’ has
negative connotations – he collects the exorbitant fares from poor citizens – some of which becomes his wage.
The typography of line 5 reminds us of something dangling over an edge.

Lines 6 – 8
‘puke’ is a slang for vomiting. It is a repulsive action. The taxi is like a huge overfed creature that can vomit
people out of its doors and windows.
‘bursting’ is an indication that the vehicle is full to beyond capacity. It is full of passengers, sound and
movement – emphasising the discomfort within the taxi. These lines highlight the human plight of suffering as
they travel under such extreme conditions.
The ‘relay’ image continues as the tout relays the change from ‘front to back’ this time, as he cannot move.

Lines 9 – 10
These lines are in italics as they are not part of the description of the taxi ride. It is direct speech spoken by the
tout and it gives relevant information. The tout is brazen as he makes his request.

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He is confident that he is safe as the passengers are too dependent on this service to inform on him. It
highlights the poet’s plea for attention to be drawn to the situation in her country
‘Black market’ – the definition of ‘black market’ is an illegal trade in officially controlled or scarce goods. Fuel is
a controlled commodity and should be bought from recognised dealers but the economic situation in Zimbabwe
is so dire that it can only be obtained illegally. It highlights the breakdown of order, the high level of corruption
and the government’s inability to meet the needs of the country. Anything bought on the black market would be
outrageously expensive. There is a play on the word ‘black’ – the black market (passengers) pay outrageous
fares because fuel is bought on the black market (obtained illegally).

Questions:
1. Line 2. ‘played back to front’. Explain the literal and figurative meaning of these words.
2. Lines 3- 5. What impression is created of the tout in these lines. Also discuss the poets use of the word
‘tout’ as opposed to other words like ‘conductor’ or ‘ticket collector’.
3. Discuss the effective use of the word ‘puke’ in line 6 of the poem.
4. Comment critically on the last two lines of the poem.
5. Discuss the effectiveness of the form and structure of the poem.
6. Do you consider “The Ride” to be protest poem? Explain your answer.

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9.The Second Coming - W.B. Yeats

Turning and turning in the widening gyre

The falcon cannot hear the falconer;
Things fall apart; the centre cannot hold;
Mere anarchy is loosed upon the world,
The blood-dimmed tide is loosed, and everywhere
The ceremony of innocence is drowned;
The best lack all conviction, while the worst
Are full of passionate intensity.
Surely some revelation is at hand;
Surely the Second Coming is at hand.
The Second Coming! Hardly are those words out
When a vast image out of Spiritus Mundi
Troubles my sight: somewhere in sands of the desert
A shape with lion body and the head of a man,
A gaze blank and pitiless as the sun,
Is moving its slow thighs, while all about it
Reel shadows of the indignant desert birds.
The darkness drops again; but now I know
That twenty centuries of stony sleep
Were vexed to nightmare by a rocking cradle,
And what rough beast, its hour come round at last,
Slouches towards Bethlehem to be born?

Background Information on the Poet

William Butler Yeats was born in Dublin, Ireland, in 1865. He is recognised as one of the most accomplished
poets in the English -speaking world. He was awarded the Nobel Prize for Literature in 1923. Yeats was a
fierce Irish nationalist and Ireland features strongly in his work. A very important influence on his poetry was his
love for Maud Gonne who was very politically inclined. His love was unrequited and his proposals of marriage
rejected. Yeats married late in life and had a son and daughter. He died in 1939.

Gist of the poem

The Second coming is a Christian belief that Jesus Christ will return to earth. Yeats presents an alternative to
the Christian idea of the Second Coming: the coming of a grotesque beast. In the first stanza he describes an
evil world that is full of pain and is out of control. In the second stanza, the speaker receives a vision of the
future – the arrival of a dreadful beast with the body of a lion and the head of a man.

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Vocabulary
Line 1 gyre circular or spiral pattern of movement
Line 2 falcon bird of prey trained to hunt game birds
Line 2 falconer a person who trains falcons
Line 4 anarchy a state of disorder or chaos due to lack of state
control
Line 7 conviction firm belief
Line 12 Spiritus Mundi collective consciousness of the world
Line 17 reel lurch violently
Line 20 vexed annoyed, troubled or worried
Line 22 slouches walks in a lazy, drooping way

Analysis of the poem

Stanza 1
The gyre is an image Yeats uses to describe his cyclical view of history. As the cycle widens, things get more
and more out of control.
Line 2 – ‘The falcon cannot hear the falconer’ implies that just as falcons who were smart and very dedicated
to their trainers have moved away from their trainers so too have people (humanity) moved away from some
sort of holder or controller that centered or kept them in order and this has resulted in chaos. Humanity has
basically lost its way and descended into moral confusion.
Line 3 – ‘Things fall apart; the centre cannot hold’ – The entire world has started to crumble.
Line 4 – ‘Mere anarchy is loosed upon the world’ – this suggests that evil is released which creates a state of
disorder.
Lines 5-6 – “The blood-dimmed tide…innocence is drowned’ - The ‘blood-dimmed tide’ could refer to wars
that are fought or a rising wave of violence in society. Innocence and rituals celebrating purity have been
destroyed and a wave of violence is washing over the land, drowning everything in its path.
Lines 7-8, - ‘The best lack … of passionate intensity’ -the best people (the most moral people) are silent. They
lack the courage of their convictions and are resigned to their fate while the worst ( the villains) are the ones in
power who carry out their evil deeds with impunity and speak the loudest.

Stanza 2
Stanza 2 starts with a cry for salvation from the carnage taking place in the world. However, the speaker’s
hopes are short-lived. He enters into a sort of dream state and gains contact with the Spiritus Mundi or the
collective consciousness or world soul which Yeats believed each person had access to.

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This collective consciousness is full of strange, ancient, mythological images. He descends into this vision
observing a sphinx moving slowly. The beast is in no hurry and has desert birds like vultures flying around it. It
is pitiless and has no empathy for humans. Its gaze is compared to the harsh qualities of the sun suggesting
that just as we cannot escape the sun’s heat, we will be unable to escape this monstrous creature. When the
speaker re-enters reality, he realises that a chaotic and evil future awaits us. This could manifest as war, huge
social and political change, climate change, environmental disasters or perhaps even strange illnesses that we
have experienced. The phrase ‘twenty centuries of stony sleep’ suggest that we have been asleep and have
made little progress in areas that really matter.
Instead of the Second Coming of Christ, an awful beast is making its way to Bethlehem (the birthplace of Jesus
Christ) to be born. A cradle symbolises purity and innocence but in this poem, the cradle symbolises
something menacing- the birth of a monster.
Imagery
Metaphors and Similes
The falcon and falconer are metaphors representing humanity and controlling forces. The ‘blood-dimmed tide
‘is a metaphor for violence and the ‘ceremony of innocence’ is a metaphor for human innocence and
goodness.

Repetition and Alliteration

‘turning and turning’ creates a sense of reverberation and echoes throughout the poem. It creates the idea of
repeated, confused movement. The word ‘loosed’ is repeated in the fourth and fifth line. The words the
‘Second Coming’ are also repeated – what is the significance of this?
Examples of alliteration - ‘centre cannot’, ‘darkness drops’, ‘stony sleep’

Form and Structure

This poem consists of two stanzas of eight and fourteen lines respectively. The poem is written in free verse.
The poem does not have a discernible rhyme scheme. Considering that the poem tries to paint a picture of a
chaotic, broken world, it does make sense that it does not have a set pattern such as strong end rhymes.

Themes
Violence in this world / a world that is out of control– wars, murders, crime.
Meaninglessness – this poem is about meanings and values coming apart at the seams. It depicts a hollow
world devoid of meaning or order.
Human beings have lost their morality – we have become steeped in materialism, greed, power, disrespect for
our own kind as well as complete disregard for our environment.

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Tone
Ominous, foreboding, eerie

Questions
1. Comment on the appropriateness of the title of the poem.
2. Do you think that the analogy of the falcon and falconer is an effective one?
Explain your answer.
3. What is your understanding of the ‘blood-dimmed tide’?
4. Do you agree with the words that ‘The best lack…….. of passionate
intensity’? Justify your response.
5. What vision of the future is suggested in the second half of ‘The Second
Coming’?
6. Explain the irony in the idea that the beast is to be born in Bethlehem.
7. Why does the speaker end the poem with a question?

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10.WE WEAR THE MASK- PAUL LAURENCE DUNBAR - 1872-1906

We wear the mask that grins and lies,

It hides our cheeks and shades our eyes,—
This debt we pay to human guile;
With torn and bleeding hearts we smile
And mouth with myriad subtleties, 5

Why should the world be over-wise,

In counting all our tears and sighs?
Nay, let them only see us, while
We wear the mask.

We smile, but oh great Christ, our cries 10

To thee from tortured souls arise.
We sing, but oh the clay is vile
Beneath our feet, and long the mile,
But let the world dream otherwise,
We wear the mask! 15

BACKGROUND INFORMATION ON THE POET

Paul Laurence Dunbar published "We Wear the Mask" in his collection Lyrics of Lowly Life in 1896. While the
poem's language and themes are representative of the majority of Dunbar's writing, the poet's popularity in the
late 1800s had much to do with his work in something called dialectics (literary work that evokes the language
of a specific region or country), especially in regards to his popularity with white readers.
Dunbar's use of "Negro dialect" is debated among scholars (as is the concept of "Negro dialect" in general, as
many consider it to be a racist caricature). Some argue that Dunbar's dialectic work is both inaccurate to the
groups he seeks to represent and a perpetuation of racist stereotypes meant to attract white readership.
Others counter that his dialectic work represents only a fraction of his literary output. "We Wear the Mask" is an
especially pertinent poem in this conversation, as many believe that it is Dunbar's way of acknowledging and
complicating his dialectic work.
"We Wear the Mask" is also not the only poem in which Dunbar explores his own personal use of the "mask.
"The Poet," for example, describes a poet who "sang of life" in all of its multitudes but was only praised by "the
world" when singing "a jingle in a broken tongue" (that is, in dialect). It appears that Dunbar struggled with
feeling somehow complicit in regards to using racist stereotypes in his own writing, but simultaneously
compelled to continue doing so because it was the only work white society chose to recognize.

GIST
We Wear the Mask’ by Paul Laurence Dunbar describes the way that “We” put on, and accept the presence of
deceitful masks.
‘We Wear the Mask’ by Paul Laurence Dunbar describes the way that “We” put on, and accept the presence of
masks.

The poem begins with the speaker stating that “We,” a reference to all of humankind, but specifically black
Americans, put on masks. We wear them, and others use them to ignore the problems that exist in modern
society. They have a deep impact on our understanding of ourselves and others. Hearts are changed through
tearing, and mouths contain endless expressions.

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The poem continues on to sarcastically ask why humankind should put out the effort to see behind the masks.
It is so clear that we should take the time, but the world does not seem willing to.

In conclusion, the speaker describes the unsteady foundation on which “We” sing. Positivity and optimism can
only last so long on a faulty foundation.

VOCABULARY
Study the words below to get its definition in the context of the poem. The words are listed in the order in which
they appear in the poem.
Guile- Guile refers to being sly or cunning. When one has guile, this means they are being deceptive, but
perhaps in a way that comes across as charming.
o Myriad

o Subtleties

o Over-wise

o Nay

o Vile

CONTENT
ANALYSIS OF WE WEAR THE MASK
Stanza One
We wear the mask that grins and lies,
It hides our cheeks and shades our eyes,—
This debt we pay to human guile;
With torn and bleeding hearts we smile,
And mouth with myriad subtleties.

In the first stanza of this piece, the speaker begins by utilizing the refrain. It is also the line that later became
the title of the poem. He is using the word “We” to allow the reader to include themselves in the text. All people
are among those who “wear mask[s].”
That being said, Dunbar is well-known as a pioneer of the Harlem Renaissance. This likely means that the
“We” is geared more towards black Americans. The type of masks that “We” wear include “grins and lies.” One
readily puts on another face for any particular situation. Lies, for when one needs to pretend to be something
they aren’t, and grins for getting by in uncomfortable situations.
These masks hide someone’s real “cheeks and…eyes.” It puts one at distance from their surroundings. The
speaker goes on to attribute the masks to be the product of “human guile.” In this context, guile refers to
general deceitfulness. This is an overwhelming human trait. It is nearly impossible to get through modern life
completely as one’s self.
The mask is expanded from one’s face to their heart in the last two lines. It is also one’s own emotional or
moral state that changes from situation to situation. It causes hearts to bleed and tear. One’s mouth contains a
smile but also a “myriad” or a great variety of “subtleties.”

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Stanza Two
Why should the world be over-wise,
In counting all our tears and sighs?
Nay, let them only see us, while
We wear the mask.

The second stanza of this piece is a quatrain, meaning it contains four lines. These lines begin with the
speaker asking a rhetorical question. He does not expect to receive an answer. This does not mean the
question lacks importance. It is posed to make one consider the state of the world and perhaps further the
question themselves.
He asks why the “world be over-wise” in its counting of “all our tears and sighs?” While this is a very serious
question, it is clear the speaker finds something ironic about it. It does not take much skill to take in the “tears
and sighs” of the world. These are clear emotional expressions that are used here to represent the deepest of
societal problems. Dunbar was likely referring to the struggle to achieve equal rights, and overcome
segregation and racial violence. Anyone living in the world can see that these things are present and deeply
problematic, even if they are obscured by masks.
Rather than the world taking a very small amount of time to consider the truth behind the mask, they “only see”
the surface. This is due to general ignorance but also a choice. The use of the word “counting” emphasizes this
fact. The troubles of the world are so numerous they are too many to count. It becomes a strain on those who
do not have to deal with them in their everyday lives.
In the final line, the speaker brings back the title of the poem, “We wear the mask.” This line is used as a
reminder that not only are the troubles of the world obscured, they are purp

Stanza Three
We smile, but, O great Christ, our cries
To thee from tortured souls arise.
We sing, but oh the clay is vile
Beneath our feet, and long the mile;
But let the world dream otherwise,
We wear the mask!

The final stanza of this piece contains six lines. It begins with the speaker increasing the already dark nature of
the piece. He explains how “We smile” but no matter what the “cries” come out from “tortured souls.” They
“arise” from behind the mask and into the real, knowable world.
He sets up a second contrast in the next lines with a comparison between the “sing[ing]” that “We” participate
in and the ground on which “We” stand. One is only able to overcome an unsteady and dangerous situation for
a limited period of time. Singing can only go on for so long in a world built on a “vile” structure.
In the final lines, the speaker explains that the “vile” clay stretches on far “Beneath our feet.” It lasts for miles
on end. He concludes by utilizing another sarcastic statement. It is quite impactful at this point as no one
should be willing to “dream” through the pain experienced by others.
SYMBOLS
THE MASK
The poem uses the mask to, not surprisingly, symbolize deception: it is a tool that this marginalized group uses
to trick the rest of society into thinking that they're happy and complacent.

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The mask also highlights the dual-nature of this deception: the mask both hides the true face of its wearer
while also presenting a false identity to the world. Notice how the mask mentioned in the first line both grins
and lies, illustrating that it must conceal and be seen. In other words, while the mask hides the face, it also
allows its wearer to control how others perceive them.
In this particular poem, the mask is a tool used by the black community to endure suffering under white
supremacy. The mask, then, is not simply a tool for deception, but also for survival. While many black citizens
protested their treatment white supremacy, the consequences for doing so could be severe, even fatal. Thus,
many black people had to adopt the "mask"—to hide their true feelings—in order to live under the
contemptuous eye of white society without causing any need for further scrutiny.
The idea of "double consciousness" is visible which sees the oppressed person as having a split sense of self:
a public and private identity, one of which conforms to the society that oppresses it, and the other of which
rejects it.
The symbolic resonance of the mask also changes throughout the poem. In the first stanza, the mask is clearly
a burden to those who must wear it. However, over time, the mask becomes a representation of pride and
resilience. The speaker of the poem understands that it is fruitless to seek validation from those who oppress
the speaker's community, and thus, the speaker uses the mask to gain control over the situation. While the
community the speaker represents does not have the opportunity to change its immediate circumstances, the
mask gives its wearers the confidence to navigate their oppression with society being none-the-wiser.
CLAY
In line 12, the speaker refers to a "clay" that is "vile." This clay isn't the kind of stuff you mould in art class.
"Clay" is often used in literature as shorthand for dry, cracked ground/earth on which people walk, while "vile"
essentially means wicked, disgusting, or horrible. Here, then, the "vile clay" could be interpreted as
representing the speaker's actual environment. Essentially, the world that the speaker must endure is filled
with horrific prejudice and injustice. In this reading, "clay" becomes a metonym—the ground itself coming to
represent the society in which the speaker lives.
If the reader chooses to see the poem as a reference specifically to black oppression, then this clay could
symbolically represent the poor conditions that black people were subjected to under the institution of slavery.
Even more specifically, this clay could evoke the imagery of the plantation; many of the enslaved black
population were used as physical labourers for Southern plantations, forced to work long hours in extreme
conditions with little-to-no rest, food, water, or adequate clothing.
Because of the poem's focus on the speaker's internal struggle, it is just as likely that this clay is a symbolic
representation of the speaker's emotional landscape. The clay, here, suggests an intolerable environment
surrounding the speaker and heightens the stakes of the mask. While the speaker has suggested previously
that they are an expert in deception and that they choose to wear the mask to hide their pain, the reference to
walking through "vile" clay indicates that wearing the mask is not necessarily an easy feat. The clay thus also
implicitly reflects the speaker's emotional endurance. The emotional labor of wearing the mask takes its toll on
the speaker in a way that feels as if the speaker is also struggling physically.

FORM AND STRUCTURE

‘We Wear the Mask’ by Paul Laurence Dunbar is a three-stanza poem that is separated into one set
of five lines, one of four, and one of six. The poem is structured in the form of a rondeau, a form that
originated in France in the 14th and 15th centuries. A rondeau consists of three stanzas that
incorporate a refrain and a specific rhyme scheme. The rhyme scheme of this piece is repetitive,
oriented around a refrain. In this case, the pattern is aabba aabc aabac. The end sounds repeat
throughout this piece, with the refrain, “We wear the mask” appearing at the end of the second and
third stanzas.
The rondeau was originally paired with music and dancing, with the refrain being sung.

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This might be subtly alluded to by the singing mentioned in line 12. More broadly, given that singing
and dancing are often seen as expressions of joy, the poem's form itself can be thought of as a kind
of "mask": even as the poem describes the emotional pain and suffering, it has a pleasant rhythm and
meter. If you were to hear this poem without paying close attention to the words, you might even be
temporarily enchanted by the steady, bouncy pacing. Like the mask, then, the poem's form is
somewhat deceiving.
THEMES
OPPRESSION, RACISM ANS IDENTITY
"We Wear the Mask" speaks to the experience of being a member of an oppressed group. The speaker is part
of a community of people who must constantly "mask" their true feelings while presenting a happy face to the
world. As a result, these people effectively have two identities: a true self, hidden behind the mask, and the self
they present to simply get by in a prejudiced society.
Although race isn’t mentioned in this poem, it is essential to its meaning: most of Dunbar’s work engaged with
race in some way, and this mask metaphor extends itself to the specific experience of being black in America
at the end of the 19th century—a time when black people often had to hide their suffering in order to survive in
an unjust and unsympathetic society. That said, the poem can also be taken as an account of the pain and
frustration of being forced to endure societal oppression and prejudice more generally.
While most people can probably relate to the idea of having to mask their emotions at certain times in life, the
poem doesn't necessarily speak to the individual so much as it attempts to describe the feelings of an entire
group of people. The poem begins with the speaker repeating the title, insisting that "We wear the mask that
grins and lies." The mask does not grin or lie, but grins and lies simultaneously, demonstrating to the reader
that the smile of the mask is never genuine. Indeed, the speaker confirms that there is deep suffering behind
this presentation of joy, telling the reader that their hearts are "torn and bleeding" and their "souls" are
"tortured."
Adding to the poem's power is the fact that, in much of the poetry and literature that depicts African Americans,
there is a troupe of the "happy slave"—an enslaved person who is perfectly content with their circumstances.
This trope was used as a justification for slavery: if enslaved people are treated well by their masters and can
experience happiness, the thinking went, then slavery couldn't be all that bad.
This poem seeks to undo this stereotype and expose it as being nothing but a performance for survival.
Indeed, the speaker references their own anguish throughout the entirety of the poem, most often pairing it
with the image of the mask. "We smile, but," the speaker states, demonstrating to the reader that, regardless of
their appearance or how genuine it seems, behind it is a constant state of agony. Part of the pain of
oppression, the poem ultimately argues, is not just being forced to hide the truth, but having to perform a lie.

EMPOWERMENT AND RESILIENCE

Throughout "We Wear the Mask," the speaker describes deep and prolonged suffering. The group in this poem
have "torn and bleeding hearts," express "tears and sighs," and are "tortured souls" who must constantly
pretend they are not struggling. However, there is also a sense of resilience running through the poem.
Wearing this "mask" is a constant reminder of their oppression, but it also, in a way, binds this group
together—creating a sense of camaraderie and shared strength that helps them endure such pain.

The phrase "We Wear the Mask" is both the title of the poem and its refrain. The repetition of the phrase
throughout the poem illustrates that it has become a sort of mantra to this group. In the conclusion of the
poem, the phrase even becomes an exclamation—"We wear the mask!"—thus giving the final line a sense of
enthusiasm, and perhaps even a sense of pride.
Also note how, in line 5, the speaker almost boastfully explains that this group can "mouth with myriad
subtleties." This line suggests to the reader that members of this group hold a level of expertise in their form of
deceit. Though they certainly don't enjoy their circumstances, they do seem able to feel pride and a sense of
accomplishment when they perform their craft well.

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Later, the speaker remarks that "we sing" even though "the clay is vile / Beneath our feet" and the miles they
must walk in it are "long," indicating that, while the journey is difficult, they can and will continue to endure it
with a brave face. This demonstrates that the group is strong, both in spite of their suffering and because of it.
This is also language in this poem that suggests that the mask is a choice (though this choice could be an
illusion). The speaker says, with an arguable air of triumph, "let them only see us while / We wear the mask,"
and "let the world dream otherwise, / We wear the mask!"
Seeing as the speaker is oppressed, it is unlikely that the mask is truly optional—at least, not without facing
further consequences for removing it. To take off the mask could potentially mean not being able to survive in a
society that seeks to oppress the speaker. However, the group can feel empowered from choosing to go on as
opposed to giving up. Thus, the speaker and their group can find confidence as they continue to use the mask
and survive their ordeal.
In lines 6 and 7, the speaker poses a rhetorical question: "Why should the world be over-wise / In counting all
our tears and sighs?" While this question suggests that "the world" the speaker refers to would be
unsympathetic to their plight, it also offers that, perhaps, the world does not deserve to know the anguish of the
speaker. As a marginalized people, it may benefit them to shield their suffering from their oppressors, as it
denies the oppressor the opportunity to enjoy (or at least know the true extent of) the power they hold. This, in
turn, can shift the sense of control the group has, and give them a sense of strength.

POETIC LANGUAGE DEVICES

IMAGERY
EXTENDED METAPHOR
First introduced in the title (which also acts as a refrain), the extended metaphor of the mask serves as the
backbone of the poem. The speaker explains the meaning of the mask to the reader in the first stanza,
illustrating that this metaphorical mask is a tool used for deceiving others. As the speaker continues, the mask
is revealed to be more than a simple con, meant to trick others out of amusement—more specifically, this mask
is used to hide its wearers' pain and suffering.
Of course, the group the speaker is a part of doesn't literally wear a mask over their faces at all times; instead,
the mask represents the fact that these people have to constantly calibrate their expressions to appease an
oppressive, prejudiced society. Members of this marginalized group cannot show their true faces to the world
without risking repercussions.
The use of extended metaphor regarding the mask allows the reader to understand the many intricacies of
what it means to be oppressed. The mask is initially presented as a forced tool of deception that eventually
blossoms into a point of pride: in stanzas 2 and 3, the speaker seems to adopt a tone of defiance while
discussing the mask, suggesting that the speaker (and the group associated with the speaker) has begun to
celebrate their own ability to survive in such an unjust world.
Overall, then, the mask is a tool of survival and thus representative of the pain of oppression, but it is also a
symbolic representation of the speaker's endurance and resilience. When the speaker exclaims, "We wear the
mask!" in the final line, the reader is able to understand that the exclamation is one of anger, defiance,
exhaustion, and celebration all in one.

ALLITERATION
In line 5, we get some alliteration (repetition of initial consonant sounds) in the words "mouth" and "myriad."
Just like before, the repetition of that M sound helps to accent the words even more and gets us thinking about
that mechanical sound of "mouth[ing]" subtleties.

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PERSONIFICATION
At the very beginning of the poem, the line "We wear the mask that grins and lies" is an example of
personification.

QUESTIONS
1.Explain the message of We Wear the Mask?
Oppression, Racism, and Identity
We Wear the Mask" speaks to the experience of being a member of an oppressed group. The speaker is part
of a community of people who must constantly "mask" their true feelings while presenting a happy face to the
world.
2. Discuss the significance of the rhetorical question in the poem we wear mask?
He uses both a rhetorical question and irony in the line "Why should the world be over-wise,\In counting all our
tears and sighs?" The mask is a metaphor (comparison) to a social performance, and it is a symbol of hidden
truths.

3.Identify and explain the imagery in the poem We Wear the Mask?
Metaphor: The poet has used the extended metaphor of “mask” to illustrate the false persona that people put
on to hide their real feelings and true emotions from other people. … The poet has used visual imagery such
as, “torn and bleeding hearts”; “We smile” and “Beneath our feet.”
4.Comment on the main idea in stanza 3 in We Wear the Mask?
The speaker then looks to be reaching for spiritual guidance ("O great Christ") and the chance for salvation
("souls arise"). The allusion to Christ emphasizes the speaker's need for help that the world will not provide.
5.What do lines 6 and 7 imply in We Wear the Mask?
In lines 6 and 7 we saw the rhetorical question that emphasized the truth behind the masks, while here in lines
8 and 9 we see just the mask and the people wearing them. So the speaker is saying here that, instead of the
world seeing the truth, they see only the masks and the lies.
6.Why do you think we wear masks to hide our true identity?
We wear the masks to cover up the true us, and what we are really feeling. Wearing a mask protects us from
vulnerability. Inside we want to tell people what is going on in our lives, but we fear rejection and we fear that
someone will make fun of us for what we believe and how we feel.

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6.DA SAME DA SAME BY SIPHO SEPAMLA

I doesn't care of you black
I doesn't care of you white
I doesn't care of you India
I doesn't care of you clearlink
if sometimes you Saus Afrika 5
you gotta big terrible, terrible
somewheres in yourselves

I mean for sure now

all da peoples is make like God
an' da God I knows for sure 10
He make avarybudy wit' one heart

for sure now dis heart go-go da same

dats for meaning to say
one man no diflent to anader

so now 15
you see a big terrible terrible stand here
how one man make anader man feel
da pain he doesn't feel hisself
for sure now dats da whole point

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sometime you wanna know how I meaning for 20

is simple
when da nail of say da t'orn tree
scratch little bit little bit of da skin

I doesn't care of say black

I doesn't care of say white 25
I doesn't care of say India
I doesn't care of say clearlink
I mean for sure da skin
only one t'ing come for sure
an' da one t'ing for sure is red blood 30
dats for sure da same, da same for avarybudy

so for sure now

you doesn't look anader man in de eye

BACKGOUND INFORMATION ON THE POET

Sipho Sepamla was born in 1932 in Krugersdorp, uses his poetry are a medium for protesting against what he
sees as Black inequality and injustice. He is identified with the official Black Protest Movement. He has striven,
through the medium of poetry to waken Black Consciousness. He has written novels as well as poetry.

CENTRAL IDEA OF POEM

The poet is making the point that no matter what the colour our skin is, or what race group we belong to , we
are all made alike and we all feel alike , therefore we should not try to deceive another man or hurt him in any
way. The apartheid era was a time when groups of people deemed other groups of people as lesser humans. It
was a traumatic life experience for so many who were denied their basic humanness. Sepamla questions how
one human can do this to another, knowing that at the core, each of us feels the same pain

The poem has a pleading but also mildly threatening tone. While the body of the poem is mostly repetitions on
the theme of sameness, the closing repetition is a reminder that we all bleed the same. The final line tells white
South Africans that they should be ashamed to look in the eyes of black South Africans until they correct these
wrongs.

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VOCABULARY
Title: Da Same ,da Same - the same,the same
L4 clearlink - mixed race, coloured
L5 Saus Afrika - South Africa
L6 gotta big terrible - got a lot of trouble
L10 da God - the God
L11 avarybudy wit one heart -everybody with one heart which looks the same
L 12 go-go - beats
L13 dats - that is
L14 diflent to anader - different from another
L16 big terrible terrible stand here - there is a big problem here
L18 hisself - himself
L19 dats da whole point - that’s the point of the argument
L20 how I meaning - what I mean
L21 is simple - the answer is easy to understand
L22 da nail - a thorn
da t’orn tree - from a thorn tree
L23 little bit - a small part

L29 t’ing - thing

for sure - is certain
L33 you doesn’t look anader man in de eye - you should try not to deceive
another man

ANALYSIS OF THE POEM

STANZA 1
The poet begins by telling us that no matter what race or colour we are, black,white ,Indian or of mixed descent
,if we claim to be South African then there is a big problem deep within ourselves.
STANZA 2
We are all made in the image of God and the heart which beats within each of us looks the same, no matter
what colour or race ,God does not discriminate.

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Line 16 ‘go-go’ Onomatopoeia - sound of a heart

All the same - should exist as one collective heart

STANZA 3
The heart which looks the same also beats in the same way, therefore no man is different from another.
STANZA 4
Therefore if we all are the same there is a big problem here in South Africa . The speaker asks how one man
can inflict pain on another
This is a rhetorical question which the speaker thrives to answer, yet there is not a satisfactory answer
available if we assume that everything he has said so far is true. That is, all men are made in the image of
God, therefore all men are equal in the sight of God. No one has the right to treat anyone else in the same way
he would not like to be treated.
STANZA 5
Now the speaker tells us that if we really want to know what he means, then he will tell us as simply as
possible .He uses as an illustration a thorn, which he calls a nail, from a tree. He begins to explain that if this
thorn scratches your skin, no matter how small the scratch might be (the result will be the same). The last part
of this sentence has been put in brackets because the speaker does not complete the analogy until the latter
part of the following stanza.

Notice the way he uses the traditional technique of the story teller. He builds up the tension, bit by bit, with
rhetorical questions, until we are ready for his story. Then he begins to tell it to us. The analogy is a simple one
to which everyone can relate. All the listeners will be able to relate to a thorn from a tree, for it will be a familiar
object.

STANZA 6
In order to emphasis his message the speaker repeats the list of colours and nationalities which he made
initially ,so making certain that everyone will be aware that they are being spoken to. Only when the full ritual
opening has been repeated does he complete his analogy. There is, however, a difference.
In the opening stanza he said : ‘ I doesn’t care of you black’
but here he says: ‘I doesn’t care of say black’

The one word difference brings the emphasis away from the person generally and puts it onto what he says or
she says. The narrator does not care what the people of any the groups say. The only thing that he cares
about is the certainty of what he knows to be true.
No matter what the colour of man’s skin, if it pricked by a thorn the blood which comes out will be red. This is
not an assumption but a fact- the blood from everybody is the same.
STANZA 7
Now that this message has been made clear, man to should learn not to upset or get annoyed with other
people, for ultimately all people are the same.

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STRUCTURE AND FORM

The style of language is intended to replicate the language of the uneducated black man speaking a language
that is not his own.
The circumstances are such that we can imagine that the narrator as a rural story-teller, using language which
is simple as well as using examples with which his listeners would be familiar
so that everyone can identify with what is being said .
The language is simple to reflect the thoughts of a simple man who does not express any elaborate or complex
ideas.
No single stanza is the same. Reflects the content.
Everyone is different, yet still part of the same collective whole
The poem is written in free verse with no rhyme scheme or regular rhythm. The stanzas are also of irregular
length. One could say that this irregular form is part of the protest against the regulated and strict life that
blacks were forced to live in South Africa.

SYMBOLS AND IMAGERY

The choice of the heart as a symbol is a clever one, for not only are all hearts physically alike, but the heart
has been seen as the place from which emotions stem.
The speaker choses a thorn (nail) as his symbol of pain, for people of the rural area would be familiar with the
pain inflicted by the thorns when they inadvertently come into contact with the skin.

However the use of the word ‘nail’ is no accident, for it was a nail which was used to inflict pain on Christ.
Therefore a close parallel is being drawn between the pain inflicted by modern man on his fellow human
beings and the pain inflicted by man two thousand years earlier on Christ. Notice the way the speaker uses the
thorn as an object which inflicts pain by accident but the nail is an object by which man inflicts pain
deliberately.
There is a second parallel as well. When Christ had been nailed to the Cross, the persecutors inflicted
additional pain by pressing onto His head a crown of thorns
‘if you prick us do we all not bleed’
We are all the same we must also accept that it is not right for one man to think himself better than another

QUESTIONS.
1. Why does the poet use of repetition in stanza 1?
Emphasizes that we are all human beings
The colour does not make us superior/ inferior.
2. Why does the poet chose to mention God in stanza 2

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We are all made in the image of God. The poet wants to highlight that we are only different in terms of our race
and skin colour but we should not be separated or divided because of this.
3. What is the 'big terrible' which South Africans have within themselves (line 16)?
We consider ourselves superior to others. This attitude does not foster good relations between race groups.
4. Comment on the tone of the speaker in conveying his message.
Angry, annoyed at the racial discrimination and the injustices suffered by the black man.

5. Comment on how the structure of the poem reinforces the speaker’s message.
The poem consists of free verse and irregular lines , following no set pattern or structure is in itself a way of
protesting against the restrictions that existed .Almost saying that black people were breaking the restrictions
and freely expressing themselves.

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