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Rapture

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Duffy uses a beautiful description here referring to the clouds as a prayer of rain. This is a nice nod to the poem’s religious title and actually in itself is quite a clever collective noun for clouds. The end of the line is enjambment and this helps the pace of the poem, although it is an enjambment line it does not dismiss the rhyming pattern. Bird’s song is a classic piece of symbolism. In fact, it is so classic it could almost be considered a cliché. Duffy of course would know this and I think she uses it here with just a pinch of irony. Perhaps then the birds are not symbolic at all and the narrator is just taking in the scenery! Either way, this is a nice nod to romantic poetry drawing on nature to evoke certain emotions, in this case, love. If sexual desire were anything but insatiable, it would be something else. If experience couldn’t let language in, there’d be no poem, only rain. From “Bridgewater Hall”: Secondly, it could be a reference to how the rings of a tree can tell its age, suggesting that the rings of their finger shows the years of their relationship within them. Aside from this, in the second, Duffy also uses much positive, yet physical imagery to describe the traits of her lover. The metaphor‘blessed in your flesh, blood, and hair, as though they were lovely garments’ seems to show her gratefulness for the closeness the two experienced, to the point as though they were connected as one being. Also, the very presence of her lover seemed to ‘pleasure the air’, which also seems to lift the melancholy air the poem holds. All this physical imagery could be linked to how Duffy feels they have such a close connection in their relationship.

Carol Ann Duffy is the most humane and accessible poet of our time, and Rapture is essential reading for the broken-hearted of all ages' - Rose Tremain The poem is divided into two stanzas, with the first describing the fleeting nature of time, and the second focusing on the speaker's desire to hold on to the present moment.Once again the sky is referenced but the change of tone changes the view of the sky. Here the sky is still described as large but there are suggestions of it being a network joining places together. Perhaps a metaphor for how the narrator is now joined with their lover? For example, though their passion is lit with a ‘flame, like talent’ however this passion is ‘under your skin,’ which implies that their love between them was hidden. The tombstone becomes significant to this point as well as it mentions ‘who’ll guess’ the meaning behind the ‘scars of your dates’, never knowing the love they were a part of. The change in perception is echoed here. The air is given sentience! And this is all possible because of the feeling of love. Perhaps the insinuation here is that love is like oxygen! (Maybe Duffy is a fan of the band Sweet!) We publish a Literature Newsletter when we have news and features on UK and international literature, plus opportunities for the industry to share.

Reynolds, Margaret (7 January 2006). "Review: Rapture by Carol Ann Duffy". The Guardian. ISSN 0261-3077 . Retrieved 19 July 2019. Sexual love is enacted by the moon, stars and clouds, ocean and shore, witnessed by the lush forest floor. A poet as accomplished as Carol Anne Duffy can work on the grandest of scales, and go forth unabashedly, over the top. If Shakespeare is perched on her shoulder, Duffy is operating on a different plane, ahistorical, archetypal, where ‘moon’ and ‘rose’ and ‘kiss’ come clear of the abuses of tradition to be restored to the poet’s lexicon, as the things of the world are restored to the lover.”Time is a key theme in the poem, as Duffy highlights how love allows two people to escape temporal boundaries. The poem itself explores a single hour spent between the narrator and their lover. Whether they spend seconds, hours, or years with each other, they are able to make the most of a moment in time, thereby transcending its boundaries. Romantic love Carol Ann Duffy, one of the most significant names in contemporary British poetry, has achieved that rare feat of both critical and commercial success. Her work is read and enjoyed equally by critics, academics and lay readers, and it features regularly on both university syllabuses and school syllabuses. Some critics have accused Duffy of being too populist, but on the whole her work is highly acclaimed for being both literary and accessible, and she is regarded as one of Britain’s most well-loved and successful contemporary poets.

Use italics (lyric) and bold (lyric) to distinguish between different vocalists in the same song partHere is where the poem almost turns on its head. It is interesting that Duffy chose to make this transformation midway through a couplet. I wonder if this is deliberate and contains a sort of symbolism. Perhaps her way of saying that love can act at any time. Once again nature is used but here it seems to have far more positive connotations. The subject of her latest work [Rapture] is the specifics of love, not the specifics of the lovers. Its inhabitants could The opening line is very short and this serves to highlight its importance. It acts almost like a prompt to a speaker who is giving a speech it announces what the following stanza will be about effectively. The second line and the narrator open up with a stunning oxymoron. This gives the reader a view of the narrator’s “torn-vision” of love. They describe the heart as being parched, this portrays the idea that the heart is thirsty, that it is longing for something that it just can’t have. This is a very dramatic way of describing the euphoric up-and-down feeling that a person gets when they are in love. The trajectory of a love affair from its giddy beginnings, with poems of almost prelapsarian sensuality, to deep love

Iambic pentameter: a line (usually in a poem) that consists of five metrical feet, each foot is made up of one unstressed syllable followed by one stressed syllable.The final poem in the collection takes lines from Robert Browning as its epigraph: "That's the wise thrush; he sings each song twice over, / Lest you should think he never could recapture / That first fine careless rapture!" The quotation gives Duffy both the title of her collection and the title for this poem - "Over". The affair may be "over", but in her verse she can sing it "over" and the effect is uplifting and thrilling. An Unseen’, published in Duffy’s Laureate Poems collection Ritual Lighting, was commissioned as a poetic reaction to Wilfred Owen’s ‘The Send-Off’. But it also strikes a chord with readers of Rapture, envisioning “all future / past” as the speaker asks, “Has forever been then?” and is told, “Yes, / forever has been.” It seems only right that the real answer to ‘now what?’ comes to us not from the living but from the dead. In ‘Snow’ (from her 2011 collection The Bees), the icy flakes scattered by the ghosts that walk beside us offer space and silence, and the possibility of healing and redirection. The dead also offer a different question: “Cold, inconvenienced, late, what will you do now / with the gift of your left life?” Founded in 2009, The Rumpus is one of the longest running independent online literary and culture magazines. Our mostly volunteer-run magazine strives to be a platform for risk-taking voices and writing that might not find a home elsewhere. We lift up new voices alongside those of more established writers readers already know and love. The poem follows an A-B-A-B-C-D-C-D-E-F-E-F-G-G rhyme schemeand uses poetry devices that include enjambment, simile and personification.

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