The Malham Bird

Themes
Forbidden love, relationships, religion, nature, memories

Content
This poem, like 'Postcard to his Wife' was written shortly after the tragic death of Abse's wife in a car crash in 2005. Abse is reminiscing on the happy times they spent together and the fond memories of their time at the beach. He is evidently pleased that he chose to take a bite from the forbidden fruit in that a marriage between a Jew and a Gentile (non-Jew) was frowned upon at the time but pleased himself and his wife.

Analysis

• The title itself is likely a reference to the Malham bird of Eden from Jewish legend who obeyed the commandment not to eat of the forbidden fruit and so remains forever in Paradise, unable to taste the joys of this world, such as marriage.
• Abse makes it clear that the poem is a personal message "For Joan" (his wife), as though he is letting her experience the memories with him all over again.
• The deictic expression of "That long summer" immediately creates a sense of intimacy and shared thoughts whilst the reference to summer is pathetic fallacy to show warmth, happiness, comfort and love. The idea that the memory registers in "clarity" suggests that Abse still remembers the events clearly and thinks of them often.
• As absorbed as Abse was in the relationship, he believed that it should be broadcast across the world as it was of such importance yet "no morning News announced the great world had been reinvented". In Abse's mind, the relationship was such more significant than it appeared to others, as is often the case when people become so involved in their own affairs that they believe that that is all there is to the world. The idea of being "in love" was so powerful to Abse and his wife yet the world continued to go as normal. They had been moulded to a "new" purpose with new perspectives and were changed by their love.
• Abse then exclaims in mock horror "you a Gentile and I a Jew!" A conflict between religion and love had been started with the relationship as it was frowned upon for a Jew to marry someone not of the same faith. Clearly, their families disapproved but their love was so powerful that they went ahead with the marriage anyway.
• The second stanza begins in the format of a love letter addressed "Dear wife". Abse recounts their first "illicit holiday", with the word "illicit" suggesting that it was morally wrong and secretive. The alliteration of "rented room" suggests an element of the mundane but to Abse and his wife, these objects and spaces meant so much more. The room is a symbol shared by the couple, representative of their time "hidden" away together. Even the "tame seagull" that they saw was viewed as a "portent" and "love message", as though nothing could go wrong and nature was on their side. However, the mention of "Dafydd's ghost" is somewhat unnatural yet makes it seem as though the relationship was supernaturally affirmed and Dafydd ( a poet who often wrote about love and nature) had even woken from his grave to send a symbol of his affirmation.
• In the third stanza, the couple lie on their "shadows naked, more than together". They are both physically and mentally connected and are not hiding any part of themselves, showing a deep level of intimacy. The image of "two chalk lines" kissing in the sky is a random act of fate which becomes a symbol of love and connection for Abse and his wife, though the fact that these "slowly disappear" could be foreshadowing Abse's wife's death as he now has the benefit of hindsight. At the time however, even the "friendly gull" is made to mean so much more by two people deeply in love.
• The love between Abse and his wife survived "three grandchildren" and vast expanses of time, allowing Abse to reflect on the significance of his choice back when he decided to get married. He is reminded of the story of the "black feathered bird"- the "malham of Eden"- and how it obeyed the "advice" it was given to not eat the "forbidden fruit" whilst others did. This bird remained "resolute" while Abse ignored the advice he was given not to marry a non-Jew, however, he remains eternally grateful for his choice. Though the malham bird of Eden was not "banished" and stayed in "Paradise", this is ironic in that this could not have been paradise if the bird was "lonely" and forever lacking the warmth of a relationship. The metaphorical bird ignored its desires and paid the cost for that and the fact that these gardens have "vanished" implies that they were never really there. An alternative interpretation of this last stanza is that Abse is actually regretting eating the forbidden fruit ( representative of the joys of life, such as love and marriage) as it meant he had his wife cruelly snatched away from him and the consequences are too much to bare.
• A rhyming couplet appears in each stanza to show that the couple and their relationship were the one solid and stable thing amidst the storm of opposition.
• The various references to religion that do appear within the poem are all negative, showing that Abse is criticising the restrictions religion places upon a person's life and defying what is expected of him by his religion.

Links to Larkin
Themes- 'An Arundel Tomb'- Just as the tomb presents the love of the dead couple, the love between Abse and his wife is captured in this poem and in their shared memories, along with the supposed symbols of love and affirmation such as the seagull. However, all of these things eventually begin to fade away and are fleeting at best as the identity of the couple in Larkin's poem becomes "blurred" and they are "helpless" against the reach of time.
As Bad as a Mile'- Both of these poems focus upon the age old story of Eden and the forbidden fruit being eaten, leading to a life of unfulfillment. The persona in Larkin's poem believes that it was the actions of Adam and Eve that have cursed the rest of humanity to a life of "failure", however, Abse appears pleased and content with his decision to eat the forbidden fruit as it allowed him to be married and have love. Despite this, the poem is tinged with an element of sadness as Abse's wife died a sudden death and this may be the consequence of partaking of the forbidden.
'Dockery and Son'- Dockery knew at a young age "what he wanted" and embraced family and relationships. In comparison, Larkin decided to stay alone without a wife and family and is therefore perhaps representative of the lonely Malham bird. Both Dockery and Abse found joy in their relationships whilst Larkin remained on the outside,though there does seem to be some similarity in that Abse and Larkin both rebelled against the social norms.
'Love Songs in Age'- Love can make a couple feel that "unfailing sense of being young" and that the relationship will last forever, however, ultimately it will fade and only sad memories will remain in its place. In some ways this links to Abse's poem as though the relationship lasted "three grandchildren", when Abse's wife died, Abse was left only with the memories and some sense of disappointment.
'Broadcast'- These poems are linked through the affection that the writer displays for another person, unusual for Larkin, who is normally so reserved. However, the reader does not know if Larkin has fabricated the connection and this display of feeling is much more uncharacteristic for Larkin whilst it appears innate for Abse.
'The Whitsun Weddings', 'Afternoons'- In both of these poems, Larkin takes an entirely different view on marriage than Abse. Larkin describes the marriage of the various couples as a "happy funeral" and that mothers are pushed to the "side of their own lives" by their children and husbands. Contrastingly, Abse has nothing but good memories to speak of about marriage, though like in 'Afternoons' and the restriction of the children's presence, there is a restriction on the marriage in terms of religion.

Tone- Sentimental, nostalgic: 'Broadcast', 'For Sidney Bechet', 'Love Songs in Age', 'The Importance of Elsewhere'

Technique-
Like in this poem, pathetic fallacy is used to show the changing nature of relationships and their strength in 'Afternoons'. Whilst the season is clearly "summer" in the memory that Abse is recounting and the time was full of joy and warmth, in Larkin's poem, "summer is fading" and it is "Afternoon". The relationship is in a state of decline and the previous passion is dwindling away.
The alliteration of "new and nondescript" is also used in 'The Whitsun Weddings' to present something as being mundane but it could have another more significant meaning to people and families.

Postcard to his Wife

Themes
Relationships, loss, grief, marriage, love, religion, memories

Content
In this poem, Abse, clearly the speaker, is writing a postcard to his wife to enlighten her of what he has been doing without her and how he wishes she would return to him. Sadly, Abse's wife died in a car crash at the age of 78 and Abse wrote this particularly emotive poem a short while after. Abse is trying to communicate with the wife he is separated from via a postcard and is deeply grieved by her loss, so much so that he begs her to come home to him when he knows that this is not possible.

Analysis

• The opening line of the poem, though cliché for postcards, is made to have more of an emotional impact through the caesura that follows it to separate it from the rest of the line-"Wish you were here". Rather than being an offhand remark, the reader can tell that the comment is made with absolute and heart-breaking honesty.
• Abse then goes on to say that the "dulcamara of memory is not enough". 'Dulcamara' is an extract of woody nightshade used for treating skin diseases and chest complaints, implying that even the fond memories Abse has of his wife which slightly lessen the pain of his grief are nowhere near enough to make him feel better. Memory is not a balm to his pain and he cannot survive on it.
• Postcards allow a person to reveal their true feelings in a short and snappy manner and Abse is forced to "confess" that without his wife he knows the "impoverishment of self" as he feels so much lesser than he once was and wishes he could return to time when there were  the two of them together. Clearly, Abse is trying not to let his true sorrow come through to affect his wife but he cannot help but reach out to her. Life has lost all meaning and value and the "Venus de Milo is only stone"- this is a Greek statue thought to represent Aphrodite, the goddess of love. Through this statement, Abse is suggesting that love, beauty, history and even the Gods have no power over him now and pale in comparison to his wife. The use of caesura in this first stanza also shows the separation and distance between Abse and his wife and how he falters in his statements as he is overcome with grief.
• The second stanza begins with a command of desperation ("So come home") yet again separated from the rest of the line and followed up by the statement "The bed's too big!". This somewhat trivial sentence is used to offset the sorrow displayed in the previous statement as Abse tries to bring the postcard back to ideas of daily routine and inconsequential matters. A light-hearted humour is attempted to be brought to the poem, with Abse simply asking his wife to "Make excuses" as though she is being kept away on holiday for a time by others and not irrevocably lost to the world. The reader seems to be left out of an inside joke between the couple in which they were "agents" finding a "cryptic message", displaying the unique and special relationship between the two but despite the attempts at humour, the reader can still sense the underlying feeling of devastation and heart-break- Abse is a man clutching at straws, trying to find something solid to hold onto.
• This desperation is further reinforced by Abse's exclamation of "Anything!" The short sentencing coupled with an exclamation mark depict his emotions simply and powerfully, as though Abse is physically crying out for his wife. He does not care what they do or where they go but only that they "motor" away together. Abse wants to take his wife away from any dangers that might befall her and keep her isolated alongside him as a method of protection. In some ways, this could be a sign of survivors guilt in that Abse survived while his wife did not. It would be "just you, just me", showing that he places his wife before himself and the beautiful natural imagery that is described in such detail implies that this was a memory and that their relationship was pure and blossomed like nature-"hedges have wild business with roses and clematis".
• In the final stanza, Abse provides the alternative for how their time could be spent among the "hunkered blond sand dunes" mimicking the "old gods". Clearly, Abse believes their love to be almost "holy" and "blessed" and that love is the pathway to happiness as those gods that represented love or were in love were the happiest of them all. The fact that Abse refers to his wife Joan as "dear" illustrates the close relationship they shared whilst Abse also describes himself as "uxorious"- excessively fond of his wife and desperate to have her back. The final line, though cliché, is given a personal and affecting touch through the use of Abse's own name: "absence can't make Abse's heart grow fonder". This simple line shows the genuine nature and reality of their love and contrasts greatly with Larkin, who prefers the role of the detached observer. It is obvious throughout that Abse still loves his wife and deeply misses her, with the postcard allowing him an outlet for his feelings and a way to make him feel connected to his wife. The use of the third person, particularly in the last two lines, is a method of Abse disconnecting himself from the overwhelming grief and also makes it appear that the feelings are more valid and confirmed by an external source.
• The reference to religion in calling his wife "blessed" suggests that, to Abse, his wife was a symbol of purity and a blessing. Though their families disagreed with the marriage, Abse causes it to seem that the gods themselves smiled down on and accepted the relationship.
• The lack of a rhyme scheme shows how Abse is lost without his wife and his life is devoid of purpose whilst the use of enjambment displays how Abse was unable to control what happened to his wife and is now not able to control his emotions either.

Links to Larkin
Themes- 'Wild Oats'- Whilst Larkin clearly admired the "bosomy English rose" that he makes reference to, he never pursued a relationship with her and detaches himself from the feelings anyway. The "friend in specs" who he stayed in contact with for "seven years" is reduced to a series of items that he sent to her, implying that the years dragged by with little loving feeling and women are reduced to their personal appearance. In comparison, Abse admires his wife for her character and place in his life, showing much more of an emotional attachment.
'Ambulances'- Larkin's gloomy outlook on death does not seem to be misplaced as we are reminded of the cruel mortality of human beings. Though some people live their time, Abse's wife was cruelly snatched away, making the loss that much more tragic and hard to bear. A person's life is a unique "blend of families and fashion" which are reminisced on once that person is gone and in the place of the person is a "solving emptiness" which Abse understands all too well. Despite this, Abse continues to love his wife and to remember  her identity even in death, suggesting that people are not just "stowed" away to be forgotten.
'Love Songs in Age'- Sadly, it would appear that Larkin was also right here with his pessimistic view of love as when a loved one passes, those memories of love cannot sustain you. Memories alone are not enough and ultimately, love disappoints.
'Talking in Bed'- In this poem, Larkin is speaking of the breakdown of a relationship due to poor communication and indifference. Though this could not be more different to the close and intimate relationship that Abse and his wife shared, now that his wife has gone, the relationship has deteriorated, leaving an empty void and a postcard in its place.
'An Arundel Tomb'- What survives of us is love as Abse's love of his wife has survived beyond her death and if we did not know the context of this poem, we would not be mistaken for believing that she was still alive. Abse has memorialised the relationship with a poem, just as the tomb displayed the love of the couple for all to see in Larkin's poem, however, other monuments to love now feel empty without the source of your love ever being present.
'Dockery and Son'- Larkin refers to himself as an "unhindered moon" with no wife to hold him back and in may ways, does not regret not having a wife, however, Abse cannot imagine his life without his wife, even though she is now gone.
'Self's the Man'- Larkin refers to the idea of "dilution" in having a family and that all a wife is good for is stealing your personal time and money. The statement "she's there all day" suggests that a man has no escape from his wife but now that Abse is free of his wife, he cannot bear it and desperately wants her back. This would appear to go directly against Larkin's thoughts and show his ideas about marriage to be wrong.
'Home is so Sad'- When a family or person leaves a home, it "withers" and feels empty without that warm presence. Abse makes reference to the idea of the bed being too "big" as once that presence has been there, a mark has inextricably been left and the loss of the person is always felt.

Tone:
Desperate, grief-stricken, lonely: 'Home is so Sad', 'Love Songs in Age', 'Reference Back', 'Ambulances'
Loving: 'Broadcast', 'An Arundel Tomb'
Light-hearted humour: 'A Study of Reading Habits'

Technique:
The use of caesura to add impact and emotion to a sentence is similar also in 'Home is So Sad' and 'Talking in Bed'- "None of this cares for us".

Terrible Angels

Themes
War, religion, death, spirituality, emotional scarring

Content
In this poem, Abse is recounting a story likely told to him by his father about the first battle of WW1 involving the BEF (British Expeditionary Force)- The Battle of Mons in Belgium. During this battle, the British forces used guerrilla tactics to stay hidden and pick the enemy off one by one alongside the French but were eventually forced to retreat under the sheer size of the German Army. It is my personal opinion that the "angels" referred to in this poem are the soldiers of the BEF themselves and the father goes on to say how these angels became involved in the battle and acted as portents of death.

Analysis

• The juxtaposition of the typically holy and the seemingly cruel and heartless in the title of "Terrible Angels" suggests an aspect of confusion surrounding the battle and the different perspectives of the soldiers.
• The poem starts with the father displaying his "war medals" and "pretty coloured ribbons" to his child at "bedtime". His child is clearly young and does not understand the significance of the items but the father appears proud in displaying them or perhaps wants to deliver a message to his son concerning war. Soldiers are given medals for doing horrible deeds in the midst of the battlefield and some question the moral appropriateness of such awards. What is ever achieved in war?
• The father provides the "other story about the angels of Mons" as the typically held belief is that angels were watching over the British troops at the Battle of Mons but the father was there and wishes to voice his own perspective. The BEF were believed to be the "elite and puissant (powerful) expedition from God", suggesting that there was an element of religion linked to the battle as soldiers found comfort in faith and their mission was thought to be one to help mankind-divine. The angels were first an "invisible presence" which likely links to the fact that the BEF employed the guerrilla tactic of shooting at the enemy while concealed and their arrival caused "horses to bolt and flocks of meat-snatching birds to rise". This would seem to imply that these angels (metaphors for British soldiers) were both fearsome but desired as they helped to keep the death of their allied soldiers at bay- the meat-snatching birds are representative of death. However, other interpretations include that the angels represent the nature of war or even religion which soldiers believe is aiding them. Ultimately though this is ironic in that soldiers wish to avoid death by wishing death upon their enemies- this then is why the angels are terrible as death will come to someone and is always circling "around and around" like the birds. The juxtaposition of the children's ride (the "carousel") and the brutality of war highlights how the soldiers are still innocent at heart and do not want to kill but war creates a vicious cycle whereby a person must kill or be killed.
• The first line of the second stanza reinforces my previous point that men of kind hearts ("genteel soldiers") are forced by war to become killers and adapt to the grim situation. This line could also be hinting at how people's morals and grasp on religion are warped through the experience of war. Instead of using words, men communicate on the battlefield through weapons such as "gas" and "shrapnel striking helmets". The alliteration of this phrase creates an onomatopoeic sound which haunts the reader with the sounds of war and bullets flying past. The father tries to maintain a hold on his religion and his manners through the use of "amen" but this is clearly an afterthought and shows the effect war has on him even some time later.
• Both religion and fear had equal effect on the soldiers ("soldiers' prayers and soldiers' screams") and it is on this signal that it appears divine authorisation was given by the angels to fully attack- men need a justification for their horrific behaviour. However, unlike the expected reaction of pity and empathy, the prayers and screams "thrilled the cold angels" into action as though they become excited by the sounds of war. A sense of madness is created as men were inextricably changed by their experience and had to use something to fuel their efforts or give up. In war, the horrible truth is that soldiers must hope for their enemy's destruction and sink to the lowest depths- things such as the "dead" bodies of comrades are common spectacles and become adapted to. No longer staying concealed, the angels became "stealthily visible", showing their "bold and bloodthirsty" true selves, with alliteration showing that the words are spit out in disgust as the father is horrified at what he did. The angels become "true facsimiles (copies) of men", suggesting that they look like human beings but do not act like humans should or that they were not men before and could be symbolic of inner nature. Humans are innately evil at heart and it is only really in certain situations that this facet of nature reveals itself.
• The last two lines, though placed in brackets( thus presenting them as an afterthought) carry the significant message of this poem in my opinion. Men are scarred for life by war and the experience will always haunt them. The idea that the father is "invalided home" is most likely because he was suffering from shellshock and knows so much about the angels and their horrific nature as he was one of them. It is not "healthy" for him to dwell on what he did but he feels he must do it anyway and tells this particularly gruesome story to his young child- to release the burden or tell others of the cruelty of humans and the truth of the battle and war? War has a aftershock throughout the decades due to being such a powerfully destructive event and a lesson needs to be learnt from it.
• Abse appears to be critical of the view that the government spread at the time to help conscription that the war was 'divine' and men are viewed only as heroes and angels if they kill other men and this accounts for the title being an oxymoron. How are you holy when you only gain this title through killing?
• The lack of a rhyme scheme and irregular stanza lengths shows this poem to be conversation-like as the father recounts his story. It also makes the poem more serious and shows it to be a genuine memory.

Links to Larkin
Themes- 'MCMXIV'- Men left to go fight in WW1 as the picture of "innocence" with their manners and morals intact. Their "crowns of hats" make them seem noble and regal in Larkin's poem which is some ways relates to the idea that these men were viewed as "angels" by society, however, they return deeply changed from the experience and are no longer their previous self. "Never such innocence" can grace them again as the memories are haunting and long-lasting- they became "bloodthirsty" as a method of survival.
'Naturally the Foundation will Bear Your Expenses'- The cynical tone employed in this poem is correct in many ways as such trite things as memorial days can never make up for the loss of life and sheer destruction of war. How correct is it to celebrate death and brutality? And were these men really heroes deserving of such a commemoration?
'Water'- As Larkin suggests, religion needs to be purified as it has become an allowance for so many horrible deeds. Going back to the basics is necessary to start afresh.
'Ambulances'- The sounds of the "soldiers' screams" as they lie dying on the battlefield echoes the statement that people "whisper at their own distress". Ultimately, everyone meets their end and often fear it but some deaths are more horrible than others and nothing can be done.
'Faith Healing'- Religion may be a source of comfort but it cannot solve anything or resolve problems, just as it cannot justify war.
'Take One Home for the Kiddies'- At heart, people are merciless and cold and lack empathy for the death of other living things. Children lack the ability to disguise their true selves but adults improve their ways of concealment as they age unless there comes a time when there is no other solution but to become the beast within.

Tone-
Distressed and desolate: 'Mr Bleaney',' Faith Healing', 'Home is so Sad', 'Reference Back', 'MCMXIV'

Technique: The juxtaposition of angels being terrible links to 'Ambulances' in that the "wild white face" is juxtaposed with the red of the blanket, thus showing the cruelty of death and how purity and brutality can often come to be linked in life or death situations.
Alliteration to present the idea that words are spat out in disgust and to mimic the sounds of warfare links to 'Naturally the Foundation...' , in which the ceremony of Remembrance Day is described as "solemn-sinister". The alliteration of "Crowds, colourless and careworn" in this poem also shows how people can become disconnected from their humanity and other human beings-"bold and bloodthirsty".
Moreover the metaphor of angels as men links to the metaphor of "dark-clothed children at play" for war in 'MCMXIV'. Innocence is inevitably tainted by war and though the men and children alike are seen to be pure and divine, they are actually symbolic of something much darker.

 

Red Balloon

Themes
Religion-Judaism, discrimination, prejudice, loss, isolation, childhood and naivety, identity


Content
The balloon in this poem is symbolic of Abse's religion and it is something that is a point of both "joy" and "shame" for the boy in the poem. However, the boy is persecuted due to his religion, with people threatening to destroy the balloon due to what it represents. This is a poem concerning the persecution of Jews, even at such a young age and the resilience of religion.


Analysis

• A balloon is typically fragile and easily burst, hinting at the psychologically vulnerable state of the young boy whilst the colour "Red" can be linked to blood and is something that is inextricably linked to humans but is also representative of anger and threats.
• The poem starts with the red balloon sailing over the "startled town", suggesting that the town and its people are shocked by its appearance, likely because as we later learn, the balloon is a symbol of Judaism and people often feel resentment towards those of that faith  or were not familiar with it.
• The balloon flies over "chimney-pots" and " a block of flats", seemingly searching for someone. The alliteration in this line creates a childlike tone while the fact that it is "wind-blown" suggests that religion can come to anyone and everyone and goes wherever faith is needed. It seems almost to be fate when the balloon "landed where I [the boy] stood" and religion comes to the boy. The persona suggests that "finding's keeping", as though the balloon is simply a toy and not symbolic of so much more. The boy "polished" the balloon "till it shone like living blood", showing a level a care on the part of the boy as he ensures that the balloon looks its best and he becomes so obsessed with it that it becomes a part of him. He makes the balloon come alive through his affection and dedication to the balloon and the oxymoron of "living blood" appears slightly sinister, foreshadowing the more serious turn the poem takes later on.
• However there then appears the paradoxical statement "It was my shame, it was my joy" as the boy holds the balloon to high esteem and believes in his religion wholeheartedly but this makes other people look at him differently. Children and adults alike should not be made to feel "shame" by others because of their beliefs. The boy is deeply affected by others comments at such a stage of innocence in his life and the balloon brings him "notoriety", but not necessarily of the good kind. He becomes isolated and shunned by others simply because of his religion.
• Knowledge of his religion brings "rude boys" from "all of Wales", thus causing the balloon to no longer be a "toy". Up until this point, the speaker had simply thought of it as something to play with but then comes to realise its significance and the hatred it can induce in others. Innocence is lost and the boy is being forced to grow up from his childish naivety.
• Moving into the fourth stanza, the possessive pronoun "my" in relation to the balloon shows that the boy has completely accepted his religion and that it is growing inside him- "soared higher like a happiness". The speaker's religion is his point of light in an otherwise "dark" life and consolidates his identity. This then is perhaps what the "girls of Cardiff" recognise and "sigh" at- the boy is unique and glowing on the inside from the influence of religion.
• In months previous, the speaker "boasted" of his "unique" and "precious" balloon as he adored it with childish simplicity but now that he understands the reaction of others to it, he "dare" not "show it". The persona recognises the brutal truth that many will not accept his religion ,as is the case even now, and he feels as though he cannot trust anyone, "however long they swear their love". Religion can cause a variety of emotions, including shame, and the boy often feels insecure revealing his religion to others for fear of their reaction. This point is proven to be justified when even his best friend turns on him to state that the balloon is a "Jew's balloon... stained with our dear Lord's blood". The conflicting religions here cause problems with the friendship as the so- called "best friend" sees Judaism as an abomination, though the speaker simply admits that it cannot be "denied", not understanding fully the significance and standing proud of his religion. The speaker does not understand why religion should make a difference and what "relevance" it has to the friendship, resulting in the friend responding with the vulgar statement "let's get it circumcised". This disgusting language is disrespectful towards the boy's religion and shows that the speaker is bullied and intimidated due to his beliefs. Why is it that people who preach peace respond to other religions with such hate?
• In response to the speaker and his religion, other boys "laughed" in mockery and "cursed" his stupidity, eventually leading to violence and "dirty knives" being revealed. The idea that Abse describes these knives as "dirty" is perhaps representative of the other boy's vulgar thoughts and corrupted minds, as shown through the aggression they display in having "lunged" and "clawed" at the speaker's balloon. The speaker is verbally and physically attacked as the boys try to destroy something that they do not like but despite this, the balloon "would not burst". Though a balloon is fragile, religion inspires confidence in the speaker, so much so that he can withstand the attack and discrimination without losing his religion. Religion lends strength to the person who holds it, even in the face of brutal violence. The speaker is "cut" and left "half conscious in the street" with his nose having been "bled"- the boys tried to beat the religion out of him and the reference to the nose could link to the idea at the time that all Jews had 'long noses'. Anti-Semitic feeling was increasingly growing across the world at the time and the boys repeatedly tell the speaker to "give up" the red balloon- society pressurises people to change their religion in order to be match society's ideals. This is met with a lack of understanding by the speaker as he fails to come to terms with why people are so intent on making him lose his beliefs.
• In response to the attack, the speaker returns home to the safety and security of family and a frightened and vulnerable tone is created: "Father, bolt the door, turn the key, lest those sad brash boys return". The speaker sees the other boys as sad figures of humanity due to the extent of prejudice within them and the line "to insult my faith and steal my red balloon" separates the idea of religion and the red balloon. For this reason, it has been interpreted that the balloon is representative of confidence or happiness, which allows the speaker to accept religion into his heart. The reader must remember that this is a very young boy being treated in such a harsh manner simply because of what he believes in.
• The ABCA rhyme scheme of this poem highlights the cyclical and repetitive nature of religious persecution, which was increasingly growing due to Anti-Semitism in Nazi Germany.
• Judaism in Wales: The rapid expansion of the coal mining industry in the 19th century lead to major economic growth and a vast increase in immigration to Wales. The Jews were one group who immigrated to Wales in large numbers during this period, leading to the founding of new Jewish communities, particularly in the heavily industrialised South Wales Valleys. A synagogue was founded in Merthyr Tydfil in 1875, and by the end of the century, most towns in the Valleys were home to small Jewish communities and trading stations.^[4] Generally, these communities appear to have been well tolerated, though there were some notable exceptions. In 1911 antisemitic sentiment came to a head in the Tredegar area, where working-class mobs attacked Jewish-owned businesses, causing thousands of pounds worth of damage.^[5] Early 20th-century Welsh Jewish society is featured in the 1999 film Solomon & Gaenor, which is set at the time of the Tredegar riots.Jews continue to flourish in Wales, being augmented by refugees from Nazi-dominated Europe in the late 1930s. The modern community in South Wales is centered in the Cardiff Reform Synagogue and the Cardiff United Synagogue. The synagogue of Merthyr Tydfil, the major one north of Cardiff, ceased to hold regular services in the 1970s and was later sold. It is a Listed Building.
• -http://en.wikipedia.org/wiki/History_of_the_Jews_in_Wales 

Links to Larkin
Themes-  'Water'- This is one of the only poems in which Larkin talks directly about religion and the need for all religion to be purified as too much hate and elitism is present in all religions. A "furious devout drench" is necessary to achieve this purpose but Larkin believes that a religion can be constructed, thus undermining Abse's firm belief in his religion and devotion to it.
'Faith Healing'- Religion and faith can strengthen a person, even if the effects are not visible to the eye. People go to religious healers and find comfort in the strength and supposed healing they can offer, however, Larkin seems to suggest that the purpose of this use of religion is to exploit vulnerable people.
'Dockery and Son'- Dockery "knew what he wanted" at a young age and did not let go of this, even though his life decisions are viewed by the persona as a method of "dilution". Likewise, the boy in Abse's poem chose as a young child to accept religion, even though it led him to be scorned and abused by others.
'For Sidney Bechet'- Music is like religion in that it can evoke strong feelings of joy and gratitude in the listener and can strengthen a person during their hardest times. For Larkin, it is the "natural noise of good", like religion is believed to be a force for good by many.
'Take One Home for the Kiddies'- Children can be cruel and uncaring towards other living things. They are often ignorant of the consequences of their actions and heartless when dealing with lives.
'Ignorance'- People go through life never really knowing the facts but basing the truth upon their own beliefs. This can lead to prejudice and hatred of others who don't share the same view, even though the opinion is skewed and only the judgement of an individual.
'Afternoons'- Larkin makes judgements on people based on their class, just as people often discriminate against those of a certain religion.
'Send No Money'- Growing up is a learning curve as children come to see the significance of their choices earlier on in life. Whilst the boy in Larkin's poem believes he was tricked into wasting his childhood, the boy in Abse's poem realises the consequences of being a Jew and sticks with his religion despite this.


Tone:
Child-like, naïve: 'Take One Home for the Kiddies', 'A Study of Reading Habits'
Vulnerable: 'Afternoons', 'Ambulances'


Technique- Water is symbolic of purity just as the balloon in its fragile state is symbolic of religion.
Alliteration to create a childlike tone is present also in 'A Study of Reading Habits'-"dirty dogs" and in 'Water" ("any-angled") to create a simplicity to the poem.
The juxtaposition of "knowledge" and "imprecisions" appears in 'Ignorance' to highlight the confusion of the human mind and emotions whilst the repetition of "no" in 'Dockery and Son' displays how people try to force their opinion across when inside they are unsure themselves and empty or simply just cruel.

A Figure of 8

Themes
Imagination, childhood, freedom, education, appearance and reality, war


Content
This poem details the daily routine of a young boy who feels trapped inside the cage that is school life and education and when school finishes, escapes into the wider world to let his imagination run rampant. Using his brain as a vehicle for fantastical thoughts rather than what he is being taught, he visits faraway countries and watches as his home area is bombed- violent thoughts for such a young child it would seem.


Analysis

• The title of the poem may have a number of different meanings. The number "8" may be a literal reference to the boy's age or representative of the infinity sign, thus showing the monotony and boredom of life-repetitive. Alternatively, it has been suggested that the "8" is meant to mean the word 'hate' and is pronounced differently by the child.
• The poem begins with the metaphor of "Mr Theophilus's jail"- the name 'Theophilus' literally means 'loved by God'. This is ironic in that the classroom is made to become a prison which traps students and has nothing to do with kindness or faith. School is akin to imprisonment and the alliteration of "sun-striped" reflects the prison-like nature of the school as even the light seems to be filtered through bars-caged.
• The boy only "half listens" to what he is being taught as children's minds always wander and the topics that are being spoken of are often dull and of no consequence. He has no identity and is simply referred to as "the boy", implying that the child is typical for many children across the world.
• Mr Theophilus teaches the children stories of patriotism and innocence such as "royalty-loving Christopher Robin"- a character in the popular children's book 'Winnie the Poo'. However, these stories deflect from the reality of the outside world and the boy disapproves of them as he knows them to be false- his own experiences of the world show this. His friend "Fatty Jones" is clearly bullied by other students and "scolded" by the teacher, thus not meeting with the idealistic image that the teacher is creating and causing the boy to feel resentment towards his teacher. The sound of "Fatty Jones" "sobbing" is in juxtaposition to the music being sung by the other students and the boy is forced to sing a patriotic song that he seems to implicitly disagree with. This would seem to account for the warping of the lyrics as the original lyric of 'let the prairie re-echo' changes to become "Let the prairie echo". This may also be because the boy pays little attention to the lyrics due to having no interest in the message of the song.
• In the second stanza, there is a sense of liberation and elation as the boys escapes his confinement to become "free, at last". The comma in between these two phrases/ words serves to exaggerate the child's desperation to be released from the jail that is school and immediately afterwards, his imagination "jet-roars" away. Imagining himself to be a plane, the boy fantasises about flying into a "vigorous sunset" (powerful imagery) with no barriers or restrictions in place. For a boy of such a young age, he thinks in detail about very adult themes such as finding "naked women" in "Africa", "whom he gently caresses". These images show that the boy is personally crossing the barrier between childhood and adulthood through the strength of his imagination and trying to grasp at the idea of being grown-up. However, these fantasies only last so long before the boy's imagination returns to his own home in Cardiff ("Albany Street"), where he "farts H2Ss"-whilst the word "farts" is immature and childish, the formula for hydrogen sulphide shows that the boy has at least a good level of intelligence and perhaps hides this behind an unwillingness to try in class.
• The fantasies of the boy then turn dark as the boy imagines images of war with the evening being "shot down in flames" and the sky in "butcher's reds" as bombs land. These images would seem to suggest that the boy is in some way disturbed due to such violent and anger-filled images, though this may just be his way of letting his frustration loose. The poem begins to take a darker and more sinister tone as "someone has bombed the park" and "the swings are on fire". These images could symbolise the fragility of childhood and how adult images start to seep into the minds of children as this is the reality of the world. The destruction of childhood objects highlights the growing awareness of the boy in regards to the adult world and the loss of innocence as children have to grow up so young.
• However, the child-like tone then returns in the depiction of the enemy as a "brute" and needing to be "foiled". These images firmly return the poem to the world of fantasy and childhood imaginings though the reader still questions who the enemy is. Is it education? Authority? Ideology? The idea of the "wooden horses...running wild" is perhaps representative of how the imaginations of children cannot be tamed, whether for better or worse.  The firm return to childlike thoughts is reinforced through the statement that the "sorcerer has cast his spell" and the "graves are sinking down to hell". The rhyme of these two lines shows the wild nature of youth and how things are oddly connected in the world of childhood. Reality now has less of a hold on the boy as the focus returns to magic and "mandrake's" (special plants used for magic rituals). Aliens and a "spaceship" start to take precedence in the boy's mind, with these fantastical and "spooky" images showing a return to what is normally expected of young children to imagine. Through the alliteration of "the pond is poisoned", an almost comical effect is created and the idea that the boy "Safely...comes home to base" implies that he believes that he is a soldier and feels more secure at home- sheltered from the horrors of reality.
• It is amazing to think that through all of these imaginings and wanderings of the mind, the boy has been paid attention to by no one but the "night's first star" and "his patient cat". Adults mistakenly believe that children are harmless when in fact their minds wander to gruesome images.
• Abse ends the poem with boy "chalk[ing]" ( in his mind or with actual graffiti) the sentences "FUCK WINNIE THE POOH.....FUCK MR THEOPHILUS TOO". This childhood act of rebellion presents the boy as being fed up with being force-fed images of innocence and naivety when the world is not really like that and he wishes to test social boundaries. The boy wishes to escape the monotony of life but looks to blame Winnie the Pooh first before his teacher, perhaps because this character cannot fight back and represents traditional ideals and propriety. It is clear however that this is a child as shown through the humorous use of capital letters and swear swords and his initial thought being of Winnie the Pooh.
• Ultimately, the boy feels repressed by the establishment and trapped in a system of education that is fundamentally wrong. During a time of progression and forming opinions, being told something that he now understands to be false angers the boy and he feels like he is fighting a losing battle as he recognises the difference between reality and what he is being told. It appears that the boy is misunderstood and could be very clever but is unwilling to be broken or let his imagination be tamed by school.
• The fact that the poem is written in present tense creates a sense of suspense and suggests that the narrator is omniscient as they detail unfolding events. The changing length of the sentences also highlights the erratic thoughts of children.

Links to Larkin
Themes- 'A Study of Reading Habits'- Both of these poem focus upon the imaginings of children which gradually take on a darker edge as reality seeps in and a person grows up. This causes people to become frustrated and angry, resulting in the person in Larkin's poem telling books to "Get stewed" as he knows that he cannot change the reality of his situation- crude language. Fantasy cannot sustain us or conceal aggression and hatred.
'Naturally the Foundation will Bear Your Expenses'- This poem, just as Abse's, criticises the system for its childishness and ludicrous nature and desires for there to be change to the establishment. However, both poems go about this is in a childish manner ("make me throw up") and exaggerate their feelings and thoughts.
'Essential Beauty'- Advertising, like the stories we hear in school as children, is not real life and is simply used as a cover to hide the grim realities of life. Perhaps this is necessary for young children as teachers do not want to remove innocence however, that innocence is often already lost through real-life day-to-day situations. Inevitably, children and people are disappointed and the Millennium Stadium stands as a symbol of this as it can only be accessed by those with money.
'Sunny Prestatyn'- The poster in this poem is defiled because it portrays the perfect, idealistic women who is simply not attainable in life- like Christopher Robin in Abse's poem. People fight against falsehoods and often rebel against being deceived through anger and violence. The boy, though only a child, writes obscene messages to show his feelings towards the establishment just as the people "stab" and draw on the poster.
'Send No Money'-In childhood, people are often looking for answers and become frustrated and annoyed when they realise that the answers they have been given are lies. This anger and frustration gives way to crude thoughts and the statement "Sod all".


Tone-
Childlike, flippant, bitter, angry: 'A Study of Reading Habits', Naturally the Foundation...', 'Send No Money'


Technique- Abse's use of childlike language ("farts") and the alliteration of "the pond is poisoned" to create a comical tone is similar to that in 'A Study of Reading Habits'- "dirty dogs" and 'Essential Beauty"-"Granny Graveclothes"

The Death of Aunt Alice

Themes
Death, loss, funerals, memories, affection, diappointment


Content
Though the title of the poem may imply a melancholy and sad reflection on a person's life, Abse actually speaks of how Aunt Alice was vivacious and enjoyed gossiping in life and therefore, that her funeral does not do her justice. While alive, Aunt Alice revelled in speaking of ghastly and unnatural deaths, thus making people uncomfortable with the truth of death.


Analysis

• The title itself sounds as though it is a newspaper headline or a story name detailing the unfortunate demise of "Aunt Alice" as filled with drama and tension.
• However, despite all the stories Alice told in her lifetime regarding extraordinary deaths, her own funeral is bland and mundane. The funeral is "orderly" with "each mourner correct" and "dressed in decent black". The alliteration of the 'd' sound here emphasises the normality and simplicity of the funeral and though this is what is stereotypically expected at a funeral, it is likely not what Alice would have wanted.
• For Alice, there is no "berserk" relative "with an axe" to liven up the funeral and there is no "opera-ending" as a person such as Alice deserves. Abse almost seems to make the speaker seem pitying of "poor Alice" and the fact that despite all she was in life, in death everyone meets the same end and the speaker appears mildy disappointed by this.
• The speaker clearly had an emotional attachment to Alice as the word "relished" suggests that Alice led a vibrant life and enjoyed the drama's of life, so to speak. For Alice, her bible was "Page One of a newspaper" with all the most interesting stories and headlines- as though she was religiously devoted to calamity and sadistically thrived on it.
• Though she was an aunt, Alice seems to have been inappropriate with her talk of "typhoid" at the table and "mangled" cars just when the family "were going for a spin". She was insensitive towards other feelings and perhaps enjoyed seeing fear in the eyes of other at her talk or simply didn't acknowledge that others may fear death unlike she. Death could occur in the most mundane everyday activities such as driving and this inevitably scares people. Alice was obviously a controversial figure within the family due to her constant talk of death and different ways to die. "You fatigued us with 'metal fatigue'" implies through the repetition that this is an inside joke and that the family have heard this story so many times that they have become worn down by it. However, the speaker seems to be using a fond and affectionate tone, suggesting that he accepted Aunt Alice for her peculiarities. The alliteration of "Boeings (planes) bubbling" under the surface of the ocean after crashing portrays the vibrancies of her story's and seems to mimic the sound of water bubbling, thus making the story more realistic and frightening.
• Alice was a cynical person who saw death everywhere in different "disguises" and "transformations". For Alice, a "tree" merely represented a method to make coffins for the people dying every day and the most mundane objects such as "rose bushes" became death traps for young boys ripping their eyes out. These typical symbols of love are twisted to become something fatal and the internal rhyme of "decoys" and "boys" links the mundane to the dangerous. The list of items becomes absurd as Alice thought that "spiders had designs" and were plotting people's deaths whilst her friends "grew SPECTATCULAR"- the capital letters replicate the enthusiastic manner in which Alice would speak of her friend's deaths and she enjoyed her friends less in life than in the odd natures of their deaths- lack of empathy. This could be seen to show that only in switching off empathy and your feelings can you become no longer frightened of death. In fact, Alice found natural deaths a "bore" as shown through the sarcastic tone and she was intrigued by gruesome deaths.
• Moving into the fourth stanza, Alice's friends are labelled "A", "B" and "C", emphasising how she did not see them as people but as stories to be told. Alice relishes every detail of her friends' deaths and turns the deaths into something comedic- one man who "never had a head for heights" "fell screaming down an liftshaft". The ludicrous nature of these deaths points to the idea that Alice was lying while the direct speech (what she would have said) helps the reader to feel more connected to her. Moreover, Alice's use of "poor fellow" links to the statement, "poor soul" in Larkin's 'Ambulances' to highlight how people utter these statements without any feeling behind them, though for Alice this is because she did not fear death.
• In the last stanza, the connection between the speaker and Alice becomes more apparent as he directly addresses Alice and remembers her as her vibrant self- "never again" shows the fragility of life and that she is truly gone. Though Alice's religion was focused around death and "gory admonitions" (warnings), the way this "lit" up her eyes and pleased her is something that the speaker cannot remonstrate. Alice found delight in death but is doing so "no more" as her own death didn't live up to the stories. The speaker can only hope in a joking manner that Alice is up in heaven telling "saints" the stories of their own "bloody martyrdoms" and having the opportunity for "eternity" to tell her grotesque stories- this is her legacy.
• One way this poem could be interpreted is that death is simply the end and does not do a person justice while it could also be that Alice spoke of death so often to become used to the idea, hoping that she would feel the impact of other's deaths less. Abse approaches the subject of death humorously and questions whether funerals are really a reflection of ourselves or just for our relatives left behind to gain closure. In the eyes of the speaker, it is almost as though Alice is still alive as her manner and stories live on and we get the impression that she can never be silenced. Despite the poem being based around death, Abse focuses more on Alice's life and how she made it her life's mission to talk about death at the most inappropriate moments. However, speaking about death still does not stop it though it makes people perhaps less fearful of the end. The memories the speaker recounts are vivid  and help to keep Alice alive though her anecdotes- her fiery life cannot be forgotten.
• The lack of a rhyme scheme highlights the unpredictability of death and the difference between Alice in life and at her funeral. The poem also becomes an apostrophe partway though, written as though it were a eulogy for Alice.

Links to Larkin
Themes- 'Ambulances'- Death is inevitable and visits "all streets in time," no matter how much a person wishes the ambulance to pass by. Though people utter words of distress, these are often words of their own distress and in some ways, relief that it is not their own family that is being taken away.
'Nothing To Be Said'- Alice is the complete opposite of those people who avoid the topic of death in life as it frightens them. Instead, Alice used every available minute to detail the gory and gruesome deaths of both friends and strangers, not acknowledging how her family might have felt about this.
'Naturally the Foundation will Bear Your Expenses'- Both Larkin and Abse are highlighting how Remembrance Days and such services for remembering the dead e.g. funerals are meaningless and only happen for ceremony. They become impersonal and are not honest reflections of a person's life.
'Mr Bleaney'- Alice, like Mr Bleaney, seems to have been a burden for her family and both end up in coffins of practicality without love or compassion.
'Reference Back'- Life in the end is "unsatisfactory" as we look back on all our "losses" and recognise that the ones we love will also soon be gone. People do not care to dwell on all the people they have lost, however, both the speaker and Aunt Alice seem not to worry about this point.
'Wild Oats'- Abse's portrayal of women is very different to Larkin as Larkin made judgements passed purely on appearance ("bosomy English rose") while the speaker in Abse's poem admires and remembers his aunt for her character and will always hold on to the memories of her as vibrant and alive- cares little for beauty and more for the personality that affected his life.


Tone- Humourous, flippant- 'A Study of Reading Habits', 'The Whitsun Weddings', 'Self's the Man', 'Naturally the Foundation...'
Nostalgic and eulogistic-'For Sidney Bechet', 'Broadcast'


Technique- The alliteration of "dressed in decent black" to emphasise the monotony and boring nature of life is like that in 'Here' ("sharp shoes"), 'Afternoons' ("swing and sandpit") and 'The Whitsun Weddings' ("broad belts"). Moreover, this is the colour of mourning which contrasts with the "wild white face" in 'Ambulances'.
The use of the exclamation mark to show almost child-like enthusiasm for a matter is similar to that in 'A Study of Reading Habits'-"The women I clubbed with sex!"- while the rhetorical question to present disappointment in life and death appears also in 'Send No Money'.

A Wall

Themes
Nature, purpose, beauty, an appreciation of the smaller things in life, value

Content
This at first seemingly simplistic and short poem about a wall and the creatures it accommodates contains a hidden message concerning how everything in this world is of value and that everything and everybody has a purpose and beauty.

Analysis

• The first line of the poem has no capital letter as it follows on from the title in order to expand on the placement of the wall. Abse uses the indefinite article "a"-"A wall" and "a field"- to present the idea that the wall is not specific and could be anywhere. The first line provides a simple description of the wall without including much depth or background, thus in some ways making the poem universal.
• The wall won't be found  "named in any guidebook" as it is nameless and nondescript- people only name things that they believe to be of worth. If an object is not unique or outstandingly beautiful in the eyes of humans, it is not worth mentioning or visiting.
• Throughout the poem, Abse speaks directly to the reader ("You") so as to ensure that the reader knows that the message is aimed at them and the simple statements make the poem easier to digest. The wall "lies, plonk, in the middle of rising ground", with "plonk" having negative connotations and suggesting a flippant tone. "It begins for no reason, ends no place"- this comment could be seen to relate to how people often feel directionless in life and are frowned upon for not having a clear and set path ahead of them. The wall stands alone in the field, isolated and odd in that there are no walls "adjacent"- it is as though the wall just appeared one day without purpose and can be compared to nothing.
• Abse states that the wall is "seemingly unremarkable", though the word "seemingly" suggests that he disagrees and that everything, even if apparently there for no reason, is remarkable in its own way. Upon closer inspection, the wall is found to have unusual and peculiar characteristics- "stones of different sizes, different greys"- which make it unique and display how society makes judgements too quickly based on first looks.
• Moving into the second stanza, a switch of tone occurs from speaking of the wall blandly to championing its presence in the world. Through the use of the imperative sentence "Don't say this wall is useless", the reader is forced to rethink their previous opinion of the wall and dwell on what possible purpose it could have. The purpose of the wall depends on the situation as the wall offers various solutions for differing problems. The wall is a vessel for life, where "golden lichens...settle" and a way to mark the finishing line for "butterflies". It offers shelter for "huddling sheep in a slanting rainfall" to ensure that they survive the day yet humans do not see this other side of the wall so to speak. They believe that if one thing is like another, it is the same and undeserving and humans do not see the beautiful and "golden" side to nature- nature is valuable but overlooked. Abse wants the reader to appreciate life and every aspect of it; "to say 'This wall is beautiful'" and to fully understand the role the wall plays in life and value it for this. In its simplicity, the wall is awe-inspiring.
• The first stanza of this poem centers around society's perceived view of the wall and contains no enjambment to present blunt and factual statements- people feel no emotion towards the wall.
• This structure changes in the second stanza as Abse tries to open the readers eyes to the beauty and worth of the wall. For this reason, enjambment appears to emphasise how the wall can be associated with freedom and nature.
• Abse uses this poem to ask the reader how beauty can be defined. The wall is not beautiful for its appearance but for its purpose in aiding nature and its uniqueness. What is beauty? Must an object or person be named to be recognised and esteemed? Though the wall may be perceived by society as worthless and undeserving of a name, this man-made structure now exists to serve the purposes of nature- something we humans tend to forget to do. If something does not benefit us directly, people often dismiss it and too quickly judgements are made on appearance when if you look closer, there is great beauty.

 

Links to Larkin

Themes- 'Here'- In both poems, a stark contrast can be identified between the human world and nature and something that has a purpose in nature is often overlooked by humans. Larkin presents the image of nature growing "unnoticed" and "hidden" just outside of the reach of the modern world, just as Abse shows how nature is thriving under the nose of industrialisation and human attention.

'Ignorance'- As humans, we often think that we know everything and even when we are uncertain, we feel that we are forced to "qualify" our "imprecisions". However, in reality, we are "ignorant" to the processes and creatures around us and their beauty, yet they remain beautiful despite this.

'Sunny Prestatyn'- The human portrayal of beauty is utterly flawed at its most basic level as beauty is not purely skin-deep and should be based less on appearance and more on the inner workings of a person. Despite this idealised version of beauty being false, people cannot help but "stab" through it as they are unable to appreciate beauty- this then is perhaps why nature prefers to stay hidden.

'An Arundel Tomb'- a decaying and old remnant of times past may appear to have no purpose when in fact its purpose lies in its ability to inspire hope in the people that view it. Similarly, Abse's wall serves the need of the creatures of nature which are unseen by the human eye but appreciate the service of the wall nonetheless.

'Nothing To Be Said'- While Abse presents the positive idea that life can be used for a good purpose, Larkin believes only that actions of are of no consequence-it is all just a way of "slow dying".

'Water', 'For Sidney Bechet'-The most simple things can be the most beautiful and these things are what humans should really appreciate as they are pure and uncorrupted.

'First Sight' -The fragility of nature and its creatures and the positive surprises that can be found on Earth to sustain life.

 

Tone-

Commanding-' Toads Revisited','Self's the Man'

Admiring- 'For Sidney Bechet', 'Here'

 

Technique- Abse uses the second person pronoun "you" in order to make the poem directly applicable to the reader and to make the reader become emotionally invested in the poem, much the same as in 'Home is So Sad'.

Alliteration also appears ("shadow side") to mimic the soft sounds of nature, thus linking the poem to 'Here'-"silence stands".



 

The Game

Themes
Religion, sport, competition, identity, war, memories, corruption

Content
This poem is one that many readers can relate to and have experienced the feelings of in their life- being at a football match cheering their team on to win the game. In Abse's poem , the opposition and their fans are seen as the side of "Evil" and the game appears to become a fight between two warring factions as fuelled by high emotions and the competitive spirit.

Analysis

• The title itself with its use of the definite article makes the football match seem like a significant point in time and the reader is initially confused as to what the game is as the title is easily mistaken to relate to a child's game of imagination and immaturity. This is ironic in that the crowd take the game so seriously and view it as a battle when in fact the game is just that- insignificant child's play.
• The use of the demanding word "follow" at the start of the first stanza intimates that the fans have no choice and are literally forced to go to the football game to support their side- lack of own will. It is as though they are following missionaries or their own faith blindly.
• The alliteration of "blares the brassy band" is somewhat onomatopoeic and mirrors the sound that the crowd would be hearing whilst the invigorating atmosphere and action of the game extends "beyond the goal posts" of the Welsh stadium ("Ninian Park") to encompass the crowd. A football match is not only about the players but the atmosphere that the fans create. The idea that " between black spaces, a hundred matches sparks" presents the image of the fans almost worshipping their team and maintaining a vigil whilst this act could also be seen as the fans igniting and displaying their passion.
•  In the second stanza, Abse's use of the first person plural ("we" signifies the idea that the individual fans have no identity and are united as a whole. They view their own team as "legendary" and the colour of "royal blue" suggests that the fan's adoration borders on the worship of heroes and royalty. Great past players for the team are recalled as the speaker nostalgically remembers the best times of the club and the "sad" fact that these legends are now gone- a mutual passion for the game and club unites people. Abse then likens the "great crowd" to an "injured beast"- this simile displays the crowd as trying to protect their pride in a vicious and uncontrolled manner- they are untamed, indignant and defiant.
• The method of deciding who starts a football match is child-like and trivialises the game as a "coin" is simply "spun" and immediately, "all is simplified". The football match becomes a battle between Good and Evil and the speaker is unreliable in their view of their self as part of the "Good" team. Disgusting and immature tactics are adopted to fight the opposition ("hiss") and the fans constantly question whether the opposition was "offside" or "the Referee is bribed". Fans resort to the chant of corruption to account for why the opposition is beating them and these opposition players become literal "Demons". A battle of religion seems to take place and the injury of a player causes the supposedly pure "cherubs" (fans) to "howl for blood". This imagery of innocence is contrasted with violence, showing that there is no right team-subjective.
• The one object that remains unbiased is the "white ball" which the fans view as their holy grail and cannot find fault with. However, any time the opposition players come near to scoring, the striker is named "Satan" and becomes the player to hate for nearly beating the side of Good. The idea that this ruler of Hell lands in a "ballet dancer's pose" appears almost comedic and in stark contrast to what the reader would expect. Are the fans trying to portray the other players as weak and feminine (a common insult at games)? The "familiar tune" that is heard is likely the tune for the opposition when they score and the sound of the whistle blowing signals the end of the half.
• In the fourth stanza, the speaker yet again become nostalgic, remembering the good days of the club, though the years have been "discarded" and the games are "faded". The memories are drifting away but will always be reminders of the superiority of the football club in the past when they played the best teams and emerged victorious. The "military airs" continue the on-going metaphor of war while the one time that the "Bluebirds" (a nickname for the Cardiff team) won the FA cup and became "champions" remains the point of pride that fans draw upon. There is a sense of community at football games as fans can identify and acknowledge one another-"the same cripples in their chairs"- people are loyal and there is equality for everyone.
• "Mephistopheles" was the demon in the Faust legend who the fans believe "has had his joke" as the supposedly good team are losing, though the fans refuse to place blame upon the players themselves but instead accuse evil agents of bringing about corruption. The use of subsequent football terminology shows that the speaker has a firm grasp of the game and questions whether "if they foul us we need to be ashamed?" Though the opposition are "infernal" (hellish and fiendish) and devious in their scheming, there is a sense of weakness being on display if the fouls go unchallenged. The fans chant "Heads up!" to maintain spirit but this optimism is all but non-existent- the best they can hope for is a "Ted Drake"(esteemed past Arsenal player) or "Dixie Drake" ( a renowned Everton player prominent in the 1920s and known for his ability to score through headers). Perhaps then the fans literally want the players to get their heads on the ball and in the goal.
• Despite shots on target,  a saved shot "discontents" the speaker as it is useless without a goal to show for the work. This disappointment takes them back in time to when "Faust must pay that fee" in selling his soul to Mephistopheles to become powerful. It could be that Abse is likening the sorrow and disappointment the fans feel to that which Faust felt when he realised his mistake while it could alternatively be showing how the fans became too arrogant of victory and suffered for it. "Phantoms" of the past "stir" in the fans as they recall previous glory which is now so shattered- the past is sometimes better than the present. The men are no longer angels or demons but "coloured jerseys" which blur as the game is over and the excitement and anticipation is gone. Fans make the game what it is.
• The phrase "God sign our souls!" is synonymic for 'God save our souls' as the speaker feels that in winning the game, the "obscure staff of Hell rule" and that the game means everything. This hyperbolic statement presents the idea that fan's lives are made or broken by a game of football and that fans went for the "jugular" in stating that the game was lost before it ended- a "depressing" thought for many. "Small boys swarm the field for an autograph" like bees admiring the best and successful and the quick transition from discussing the outcome of the game to this statement suggest that the anger the speaker felt is now fading to embarrassment at losing.
• In the last stanza, the "silent" stadium makes it clear that a stadium without the energy that fans bring is nothing- just an object. After a game, the crowd lose their bestial visages and return to the civilised normality of life as shown in that they "filed out" in an orderly manner. Football games have the ability to change people for the period of time that they last as the competitive spirit is brought out. Towards the end of the stanza, the sense of loss and sadness intensifies through Abse showing the forgotten programmes "trampled underfoot" and how the "dark" seems "natural" and "the rain" "appropriate". Pathetic fallacy shows the glum and dejected mood of the losing fans and the newsboys appear "threatening" in that they are broadcasting the defeat- humiliation and hurt pride. On the other hand, these boys could be threatening in that they are delivering the news of the real world and its horrific events.
• Use of the present tense throughout the poem keeps the sense of anticipation and tension building while the fact that the poem is written in iambic pentameter makes the rhyme almost resemble a brass band. The events of the poem are written in chronological order, much as the events of a battle would be recorded and the rhyme scheme of ABABA (excluding the first stanza) gives the sense that the enthusiasm that fans bring to the game is predictable and that fans have their periods of ups and downs.
• Throughout the poem, there is the continuing sense of the crowd being one single entity, linked through their love of the game and their memories of the way the team used to be.  Constant references to war and religion show the ferocity of the fans as though it is a battle between Good and Evil depending on which side you stand and the references to the legend of Faust show how fans use corruption as a way to account for defeat or to show that a team must pay for arrogance or their shortcomings.

Links to Larkin
Themes- 'Home is So Sad'- Both the stadium and the home in Larkin's poem wither and feel "bereft" and empty without people to occupy them as though these places are brought to life by the energy of the people that pass through them. The stadium, like the house and the objects it contains ("that vase") evokes a sense of nostalgia for fans.
'For Sidney Bechet'- Football inspires in some people what music inspires in others- joy, adoration and even "love". The ability of such things to evoke uncharacteristic emotions and actions in people is astounding and both of these poems focus also on how music can take a person back in time.
'Love Songs in Age'- The football game and its past players are just as sad as the "bleached" old songs which remind the speaker of her lost love and her past relationship. The "frank submissive chord" acts like the names of football players in reminding the crowd of past events and forgotten glory.
'Self's the Man'- This poem appears just like Abse's in that it compares two opposing views/ ways of life and the persona makes the contrast become a battle between who has lived the right life and who has not. Clearly, the persona believes their own life to be better, just as the persona in Abse's poem believes his team to be the force of "Good", however, this view is yet again subjective and uncertain.
'MCMXIV'- Larkin clearly contrasts the idea of a real war with the image of war that Abse presents. War in reality is less like the fantasy world of "roars" and chants that the fans occupy and more depressing through the loss of "innocence".
'As Bad as a Mile'- This poem makes reference also to religion and the skewed view that it is to blame for all failures and disappointments. The side of "Hell" wins the game because it was sneaky and devilish while the Devil tempted Eve to eat the apple and get her and Adam cast out of Eden, thus cursing the rest of humanity to "failure" forevermore.

Tone- Passionate-'For Sidney Bechet', 'Broadcast'
Towards the end: resigned and embarrassed- 'Love Songs in Age', 'MCMXIV', 'Talking in Bed, 'A Study of Reading Habits'

Technique- Abse's use of the first person plural "we" to connect a body of people together links to ' The Whitsun Weddings' in which Larkin implies that people become linked through their joint experiences on a journey. The football game supporters are also on a journey together through good and bad times.
The use of the imperative "follow" at the start of the poem relates to 'Home is so Sad' as the reader is told to "look" at the items left behind- it is human nature to look at disappointment and follow others as you are told.
The alliteration of "blares the brassy band" to mirror the sound that would be heard by the fans is present in 'Broadcast' ("sudden scuttle") whilst a simile also appears in 'Broadcast' to present the idea that people are more like wild animals than they care to admit. Prostitutes in Larkin's poem are likened to "circus tigers" whilst the supporters in   Abse's poem are "like an injured beast"- people can become animals if they let their emotions go untamed and unchecked and wounded pride can cause these emotions to fly out of control.

Two Photographs

Themes
Youth and old age, loss ,memories, love, celebration of women, family relationships


Content
Abse focuses upon two photos of his grandmothers, who, though both distinctly different to each other and with contrasting appearances and characters, he loved all the same and deeply misses.


Analysis

• The discovery of two photographs of his grandmothers prompts Abse to reflect on their individual personalities and lives, though more and more memories are lost as time goes on.
• Abse makes it clear from the start that the two grandmothers were polar opposites- "Annabella" was " slim", "vulnerable" and "pretty" while "Doris" was "portly", "formidable" and "handsome". The reader gains the image of Annabella as feminine, slight and elegant whilst Doris was less of the typical housewife and more strong-willed and manly as shown through the word "handsome" and not "pretty". The fact that Abse separates the two words describing the grandmothers' beauty off from the rest of the lines through caesura shows the positive image he has of his grandmothers and the love he felt towards them- their beauty is emphasised. It is also not known whether the photos are of the women when they were young as Abse may be trying to remember them in their best form.
• The poem then goes on to describe the attire of the two women- both are wearing black in the photos, perhaps foreshadowing their demise-ironic as they are mourning themselves. However, once again Doris's outfit appears more feminine and "lacy" with pearls- the items a woman chooses to wear show their character and lace connotes seduction while Annabella is more reserved. The separation between the first and second stanza appears odd as the opening line of the second stanza carries on directly from the last line of the first stanza, highlighting the division between the two woman. Abse even goes so far as to make reference to them being' chalk and cheese' as the women say different words when having their photo taken- in all likelihood it was Doris who shouted "Chalk!" due to her being less reserved and more wiling to test boundaries. The photos were also taken at two different places and times, yet again highlighting the division both in terms of space and personality.
• Even the accent of the two grandmothers was different in life and Doris appears to be more of an outsider as she spoke "English with a Welsh Valleys' lilt" and not Welsh specifically.
• The third stanza focuses upon the differences in behaviour instead of appearance and that "Annabella fasted" while "Doris feasted". Annabella was much more devout and devoted to religion- "pious", "passive"- while Doris flaunted normal expectations and was "pacy" and "pushy". The alliteration of the 'p' sound across both these lines highlights that the two women were not so different in that they were both highly competitive- 'p' is a strong sound and links all the character traits together. Abse's use of the exclamation mark after "pork" is present due to the controversy it would have caused at the time that Doris ate pork when it is forbidden in the Jewish faith.
• "Indecorous" Doris was a rebellious women who was not willing to conform and "devilishly laughed" when Annabella informed her that she was "damned". The two grandmothers obviously did not get along and Abse states that he did not "think they liked each other". Despite their feelings regarding one another, Abse "liked" them both, suggesting that perhaps at the time he felt torn between the two. The words he uses to describe them here however (Doris as "bossy" and Annabella as "daft") would not be the words we would previously have associated with them, presenting the idea that Abse's memory of them is eroding and distorting or that he didn't see them as others did.
• The memories that the photographs evoke seep deep into the thoughts of the speaker at night and result in ridiculous dreams which are likely loosely based in reality. The two women in  life would constantly have been arguing and standing "back to back" on matters. Their may have been "a duel" of words which Abse is remembering but not having the full picture in mind and they would have been competitive regarding each other maybe to gain the majority of the grandchild's affection. However, from this sense of rivalry the poem shifts to take on a sad and depressing tone-no longer light-hearted. Abse remembers them in their old age with "buns of grey hair" and "withered rose"- he is mourning the decay of their youthful beauty and how he saw them curl in on themselves.
• The memories of the two women become "illusory" and "fugitive"- hard to catch hold of and as though they never really existed in reality. Abse likens the memories to "the dust that secretively flows in a sudden sunbeam...and disappears when and where that sunbeam goes". There are moments when the memories resurface and are suddenly there to relive but often they are forgotten. Even when a memory is caught hold of through the photographs it is "sieved through leaky curtains"- not whole with only bits and pieces, the memories are eroding, the disintegration of recollection is unpredictable.
• Abse "uxoriously loved" (loved with great/excessive fondness) his grandmothers but becomes melancholy and questions "what's survived?". For all of the two women's strong presence in life, all that is left is their jewellery- "An amber brooch, a string of pearls, two photographs". Abse's pessimistic view is suggesting that in time, a person is completely forgotten and all the sentimental items that are left have no real depth- they are useless without the person to wear them or preside over them- flesh is so frail.
• The speaker accepts that in the future, when happening upon the photographs, his own "children's grandchildren" will question "Who?". There will be no knowledge of the two women who were once so vibrant but if they had never existed, as Abse states, "I never lived". The two women are of great importance and it is sad that they will come to not be recognised by family as Abse too will start to be forgotten upon his death.
• The irregularity of the rhyme scheme and structure of the poem hints at the idea of the irregularity of memory and how certain sections fade over time.

Links to Larkin
Themes- 'Reference Back'- Larkin sees age as "unsatisfactory" and mourns the loss of his father just as Abse mourns the loss of his grandmothers. However, this mourning leads Larkin to draw away from his mother and her age and it is only through reminders of times previous that they can reconnect. Objects and music allow a person to drift back to memories but can only do so for a time before the memories fade.
'Love Songs in Age'- Memories of things that were once so vibrant and beautiful become "bleached" over time until it becomes sad to look back upon them and Abse recognises that people will be forgotten- disappointing nature of life.
'Home is so Sad'- People and items claim to offer such happiness and joy but can ultimately not live up to these promises and wither away.
'Nothing To Be Said'- Abse ends his poem much as this poem ends-on the melancholy note  that there is nothing more to be said on the topic of death and it must simply be accepted-resignation.
'Wild Oats'- Both poems focus upon two very different and contrasting people who both are now unattainable.
'Ambulances- Whilst Larkin views life as simply a blend of "families and fashions", Abse adopts a much more intimate and personal tone which reflects the deep emotional impact people have upon our lives and the imprint they leave when they die.
'An Arundel Tomb'- For once, Larkin appears to be more positive in that the memories of Abse's grandmothers erode over time whilst the couple in Larkin's poem stay "linked, through lengths and breadth of time". The grandmothers faces will come to be meaningless and unidentifiable to family whilst what the couple represents ("love") will last eternally. Perhaps then ideas and concepts survive while human flesh and appearance are forgotten?


Tone- Affectionate, admiring: 'An Arundel Tomb', 'Broadcast', 'For Sidney Bechet'
          Resigned, melancholy: 'Nothing To Be Said, ' Here' ("out of reach"), 'Love Songs in Age', 'Ambulances'

Technique- The use of alliteration could be seen to link to 'Ambulances' in that the "wild white face" draws a connection between the two adjectives and shows the personality and appearance of people in a simple fashion.
Caesura in order to separate and emphasise words such as "pretty" and "handsome" is also present in 'Broadcast', where caesura is used to place emphasis upon the persona believing a woman to be "beautiful and devout". Both uses of caesura highlight the appearance of women.
Lastly, the use of a rhetorical question to show anger at the unfairness of life links to 'Send No Money', where Larkin's persona questions "What does it prove?" In the end, there is nothing really to show of a life lived.