The way Carol Duffy explores connections in her poems is a abundant subject for contrast, as each poem sets a fascinating spin on the way she, as the narrative tone, reacts to the folks around her. On the main one hands we can go through the acerbic treatment of the relationship in 'Havisham', as she is jilted at the altar. This makes an extreme distinction to 'Before You Were Mine', in which we can monitor a romantic sentiment regarding her mother that is almost a direct reverse of the sour, but down to earth firmness of the past poem. On the other hand, Seamus Heaney explores a damaged familial romantic relationship between dad and son. At first, we have been shown that the son looks up towards father, yet the opposing happens as he matures.
In 'Before You Were Mine', Duffy ponders in a nostalgic firmness what her mother's life must have been like before she was born, without the limitation and constraint of her child's 'noisy possessive yell'. The feelings conveyed is a very dreamy one, as Duffy, apparently writing from the point of view of herself as a child or young female, looks at her mother's old high-heeled shoes and attempts to visualise her mother's life when she was young and glamorous. Duffy contrasts the young woman's loving fantasies with the reality of motherhood that will come a decade later.
The dreamy nostalgic tone of the dialect is supported by the proper execution the poem calls for. It is spoken in the first person and aimed towards the mother. It is given mid-air of an flashback through the continual change with time and place. It should go between recollections of Marilyn's life as a woman and Duffy's thoughts of being a young woman and thinking at her mother's former life, although it is spoken from the idea of view of Duffy as an adult. Duffy uses both first and second person, emphasizing the bond they share. There is absolutely no rhyme, and although there is no strong rhythm, the speech flows in a simple way, coming across almost like a stream of awareness. The portrayal of the mom and spouse however are the other way around from what one might expect. Duffy conjures up an enchanting view of her mom, with Hollywood images as a metaphor for the liberty the mother appreciated as a young ones. It is ironically the intimate partner that provides the blunt but honest treatment. That is perhaps representative of the sort of romance Duffy has with the respected parties. Her mother has earn value and deserves to be treated with reverence. Furthermore, when thinking about the past the first is unlikely to think of the bad memories 'Before You Were Mine' is nostalgia for a previous life, one which Duffy didn't experience, but she feels grateful to her mom for supplying it up.
Similarly, in Follower, Heaney looks up to his dad, just like in Before You Were Mine. Daughter looks up to Mom. However, in Follower, the concluding switches to revealing to us that the Father now depends on the Son-"But today It really is my father who continues stumbling Behind me, and will not disappear completely. In Before You Were Mine there is absolutely no advice that the Mom gets in the form of Princess. Instead Duffy presents the sacrifices designed for her child.
In 'Follower' Heaney reveals us with a very vibrant picture of his father as he appeared to the poet as a son. We learn a lot about both relationship that existed between them and just how Heaney saw his family. The daddy is, above all else, a lively and skilled farmer. He is 'An expert' with the horse-plough and Heaney as just a little son would simply enter his father's way. The poem is full of admiration for his father's strength and skill with horses. At the end of the poem, however, we live moved to the present day and there's a change in assignments; it is currently Heaney's father who is just about the child who gets in the way. The relationship has changed over time. Similarly, this poem is comparable to Before You Were Mine as Duffy explores how mom and daughters romance has progressed through time- before she was created, her mom was a lot more bubbly.
Heaney remembers when he was a tiny son, and in the poem he appears up to his daddy in a physical sense, because he is a whole lot smaller than his father, but he also looks up to him in a metaphorical sense. That is made clear by the poet's careful choice of words. An example of this is in the lines:
Narrowed and angled at the ground,
Mapping the furrow exactly. "
The options of the verbs "Narrowed", "angled" and "Mapping" effectively suggest his father's skill and precision. Were also advised that young Heaney "stumbled in his hob-nailed wake, " which brings to our mind an image of the ploughman's heavy boots, the carefully ploughed furrow and the child's clumsy passion. It demonstrates he respected his father.
"I had been a nuisance, tripping, slipping,
Yapping always. "
These words, especially "Yapping" make us think of the young man as being such as a young and thrilled puppy dog - enjoying playing at ploughing, but of no functional help. In fact, he was a hindrance to a busy farmer, but his father tolerates him.
His father's durability and vitality are also very effectively brought out in the simple, but effective simile:
"His shoulders globed just like a full sail strung
Between the shafts and the furrow. "
The contrast here suggests a man who spends much of his periods of doors, a guy who is a part of dynamics. The nautical references show how the father was efficient and hard-working on the plantation. The word "globed" also advises great strength and gives the impression that the daddy was the whole world to the young youngster. It is important to notice that his father is not simply strong; his soft love and look after his child are emphasised by the actual fact that he "rode me on his back/ Dipping and increasing to his plod". The sound and rhythm of the lines present the pleasure young Heaney got in the ride.
Havisham differs to both Before You Were Mine and Follower. Interactions are presented a lot more disturbing as Pass up Havisham from Dickens's Great Targets is jilted at the altar on her behalf wedding day. The poem makes a generalized negative view against all men- her romance with another man has destroyed her and therefore she wishes revenge on men. She hates her spinster status- of which her unmarried family name constantly reminds her.
The most eye-catching thing about the first word is the oxymoron of 'love' (cherished sweetheart) and hatred (bastard). This oxymoron portrays to the reader the combination of emotions that Miss Havisham is sense because of this man although she hates him for what he did to her, she still seems loves for him. Additionally, this sentence could be interpreted as the stages of the relationship she had with this man. At first he was beloved a far more reserved sentiment. Then this man became her sweetheart a far more romantic word signalling exotic and intimate love and then finally once he left her he became a bastard to Neglect Havisham. But also, with the alliteration of the b in that quotation, the reader also gets the indicator of aggression and assault- indicating revenge and hatred. Through the entire poem, dialect is under great pressure, wearing down. (curses that are may seem not words. . . and the final word b-b-b-breaks; her tongue only becomes fluent in fantasy, and then only in kissing, not speech). Both intimate passion and speech require a partner.
Dark green pebbles eyes stands in here for the effects upon her mindset of her continuous hatred: pebbles because the resultant hardness in her emotions; dark because of her 'evil' thoughts of revenge (wishing him lifeless) - but also because the mixture of her feelings aren't only to be understood, even by herself; green out of envy (of the man, of a person with a more pleased life). The corpse and the long sluggish honeymoon combines both love and revenge; long and poor is a peculiar mixture of enjoyment and torture.