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Eduqas A Level English Literature Component 1: Poetry | Phillip Larkin ' The Whitsun Weddings' and Carol Ann Duffy 'Mean Time' | Revision Bundle, Everything You Need To Know for Comparative Essay$10.30
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Eduqas A Level English Literature Component 1: Poetry | Phillip Larkin ' The Whitsun Weddings' and Carol Ann Duffy 'Mean Time' | Revision Bundle, Everything You Need To Know for Comparative Essay
This document consists of all the knowledge needed for in Paper 1 Eduqas English Literature A Level for Phillip Larkin's 'Whitsun Weddings' collection and Carol Ann Duffy's 'Mean Time' collection. It covers all of the AOs required for this essay, including summaries, context, critics, quotes, analy...
- Captain - Mr Bleaney
- Litany - Love Songs in Age
- Stafford Afternoons - Faith Healing
- Stuffed - For Sidney Bechet
- Before You Were Mine - Home is So Sad
- Confession - Water
- Away and See - Whitsun Weddings
- First Love - Talking in Bed
- Valentine - Sunny Prestatyn
- Havisham - Dockery and Son
- Disgrace - Reference Back
- Room - Afternoons
- Mean Time - Arundel Tomb
- Prayer
Themes:
- Disappointment / disillusionment - Fear / anxiety / unhappiness
- Self discovery - Love
- Guilt - Happiness / joy
- Past - Significance of place
- Romantic relationships - Loss
- Religion / faith - Life and death
- Childhood / nostalgia / memories / innocence - Isolation / social alienation / loneliness
- False happiness/ false hope / temporary happiness - Bittersweet
- Contempt for everyday life - Comfort
, - Life not meeting expectations - Admiration
- Time / passage of time - Familial relationships
CONTEXT:
Larkin: Duffy:
- Larkin acquired early experiences of growing up in a grim suburban life. His - Duffy studied Philosophy at Liverpool University and studies on the relationship
father was an admirer of Hitler and Nazis and he tried to impose his view on between language and things, the limits of language and the meaning of time
Larkin - ‘They fuck you up your Mum and Dad.’ are reflected in her poetry.
- He was an introverted child, with a stammer and sense of social awkwardness - She had a Catholic upbringing explaining her awareness of the effect of her
explaining his stoical and muted tone. words, regarding sin, guilt and moral questions. However, she grew up to be
- Divorce wasn’t acceptable or as much as it was with Duffy’s writing in the 90s non-religious perhaps in line with the decreasing church attendance of the 20th
so relationships were often miserable, explaining his criticism of the institution. century that exposed doubts and criticism of the church. This is conveyed in
This is furthered by Larkin having some long term relationships but never ‘Confession.’
marrying. - Her experience as a Mersey poet in the performative poetry scene in the 70s
- He went to Oxford and studied English Literature, where he developed his poetic can provide reasoning to her captivating features; use of dramatic monologues,
style. His experience in writing novels may also have led to the dramatic, colloquial language, reference to popular culture and structural elements;
narrative poems. phonological features, internal rhyme, free verse, assonance. Her view that
- He was part of ‘The Movement’; a group of writers in the 50s and 60s, who poetry is best performed juxtaposes Larkin’s view that ‘A poet never thinks of
aimed to prove the importance of English poetry over the new modernist poetry. his reader.’
They were distinguished by their use of everyday language to convey ideas, - She admired C19th poet, Robert Browning, due to his use of dramatis personae
traditional rhyme patterns and structure and rejection of modernism. that presented dramatic monologues with a strong sense of voice and dark
- Modernism cares little for nature, being or overarching structures of history. tone to create strange and unnerving personas.
According to Roshenthal, ‘Whilst it presents the image of post war as - She was raised in the working class, where her father was a union member. This
superhuman and strange creature inspired, the movement presented individuals can explain her colloquial tone and communication of current social issues. One
as ‘just like man next door, in fact, he probably is the man next door.’ In the example is feminism in the 70s, which was proven to be successful as she was
midst of disillusionment and uncertainty, Larkin advocated simple and vague the first female poet laureate. Another issue was unemployment in 1990s
notions over complex, vague ones. Britain, conveyed in Mr Bleaney through focusing on de-individualisation and the
- His position in ‘The Movement’ also explains his love for traditional over loosening of social structure.
improvisational jazz with this passion often seeping into his poetry. - Duffy chooses to present love in an original and striking way. Like the C17th
- Loved traditional jazz, not improvisational metaphysical poets, she uses metaphors to explore uncomfortable ideas about
- Influenced by Hardy and the use of the external, natural world to reflect the true nature of love and relationships.
pessimistic human internal feeling and using intricate syntax in traditional - One of her greatest influences is TS Elliot, who used a demotic style, including
forms. fragments of ordinary conversation and mixing this with a high style.
CRITICS:
, Larkin: Duffy:
Andrew Motion - ‘None of Larkin’s poems register the achievement of complete, calm Jody Allen Randloph - ‘Duffy shares Larkin’s tragic views of life…loneliness haunts her
success in love.’ verse.’
- ‘Profound and unforgettable things to say about human experience.’ Peter Cash - ‘Shows how life offers little and delivers less.’
- ‘Subtyl enlarged account of a private moment.’ Peter Cash - ‘Movement of time is responsible for radical change.’
Christopher Ricks - ‘He writes like something is almost being said. It is self-pity.’ Katherine Viner - ‘her poetry is filled with lost loves yearning for the past.’
Bryan Appleyard - ‘He is an advocate for misanthropy and pessimism.’ Jeanette Winterson - ‘She wants us to enjoy poetry.’
Larkin - ‘A poet never thinks of his reader. Why should he? The reader never comes into - ‘As a powerful, modern voice, Duffy has been unafraid to use rhymes from the
the poem at all.’ beginning.’
- ‘I want readers to live something through a poem, without necessarily being - ‘The range of Duffy’s imagination is vast.
conscious of a poem as a poem.’ Jonathan Brown - ‘If love has always been a centre of her poetry, this is not only
Janice Rossen - ‘Larkin’s fury against women is not so much a declared stage of siege romantic and sexual, it is also daughterly and intensely maternal.’
against them personally as it is an eternal raging battle with himself.’ Duffy - ‘Childhood is a long greenhouse where everything is growing.’
Leo Cox - ‘He had a great love for the country and its culture.’ - ‘The child is the real living voice.’
- ‘Larkin uses nature as a medium for discussing his preoccupation with how Antje Peuklert - ‘Duffy’s poems deconstruct traditional perceptions and cliches of
transient and pointless everything in the world is.' women and men.’
- 'The characters in many of Larkin's poems may reflect his own sense of Michael Woods - ‘She writes in everyday, conversational language.’
detachment and disillusionment.' - ‘She is acutely sensitive and empathetic as she places herself into the mindset
John Welford - ‘Many of his poems offer intriguing insights into a mind of complexity and of each character.’
flawed personality.’ - ‘She continues to address political, social and philosophical issues.’
Martin Amis - ‘Life is first boredom…then fear.’ - ‘Valentine is the most poignant of personal poems.’
Unknown - ‘this theme of the detached observer who refused to participate in the theme - ‘Often writes about love, with heartfelt feelings but never with sentimentality,
of self-alienation, is repeated over and over in Larkin’s poetry.’ and she explores its complex nature, its pain as well as its bliss.’
Nigel Wheale - ‘her estranged use of language is very much at the centre of her
particular style.’
- ‘A strain of nostalgia for childhood and the mysteriousness of it continuously
runs on her poems.’
Xan Brooks - ‘With a lot of artists, their aim is to baffle their readership. She never does.
Her aim is to communicate.’
Clare McEwan - ‘giving voice to previously marginalised or silenced figures’
Elizabeth O’reilly - ‘insight into such disturbed minds’
Cash - 'disappointed figures in need of comfort in a dark and potentially comfortless
world.’
DUFFY POEMS
Poem Analysis Link
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