Higher English Essays
A Hanging
“A Hanging” by George Orwell is a non-fiction text which I consider to be provocative. Primarily, the theme of this text is the wrongness of capital punishment and Orwell uses this particularly controversial topic not only to portray his own negative opinions on the subject but also to arouse the reader’s views. Essentially, we are introduced to a group of convicts, in Burma, who are awaiting execution. The essayist then focuses predominantly on one specific prisoner and his climactical journey to the gallows. In my opinion, “A Hanging”allows me to contemplate the morality of taking a human’s life; it has also engendered in me a sympathetic response the inmates through Orwell’s use of word choice and imagery.
Initially, the essay introduces the reader to the bleak Burmese setting where the “condemned” criminals are being held captive by merciless guards. Almost immediately, Orwell sculpts a dismal atmosphere through setting and word choice:
“A sodden morning of the rains”
Firstly, “sodden” suggests extremely uncomfortable saturation and sculpts an ominous ambience as it has connotations of uneasiness. The “rains” add to the
sympathetic background and creates an almost depressing tone as rain is ssociated with sadness. Contributing to Orwell’s foreboding atmosphere is his escription of the sunlight:
“A sickly light like yellow tinfoil”
The simile“a sickly light like yellow tinfoil” has an unhealthy denotation. Both "sickly" and "yellow" are adjectives normally related with illness and decay
hence the writer is insinuating the sunlight is abnormally off-colour; this reflects the unnaturalness of the situation taking place in Burma. Under usual conditions "light" and "tinfoil" are gleaming but to propse they are unhealthy looking is to suggest all is not well in the prison. I believe that Orwell's portrayal of a tense ambience helps the reader to understand that an aberrant event is about to take place, consequently this provokes anxiety and a slightly nervous reaction towards the overall situation.
Moreover, the guards' inhumanity to the prisoners is an unnerving one:
“Sheds fronted with double bars like small animals cages…brown silent men”
Again another effective simile, "double bars like small animals cages" is an example of the awful conditions in which these men live. To compare a human's cell to an "animal cage" is upsetting as the individuals in question are dehumanized; they are as insignificant as rodents. For this reason, a strong arousal of sympathy is provoked from the reader for them. In addition, the image of "brown silent men" evokes pity for the convicts as they are so frightened they will not speak. It gives the impression that these men are faceless and imprisonment has removed their individual characteristics. Accordingly the melancholy, downcast environment develops alongside the reader's compassion towards the prisoners.
To further provoke an emotive reaction, Orwell portrays cruelty at its peak. It becomes apparent in the second and third paragraphs of “A Hanging” just how harsh the wardens are. Through the writer’s characterisation and word choice the guards are conveyed as cold-hearted:
“‘The man ought to have been dead by this time…Can’t get their breakfast till this job’s over’ “
Spoken by the “superintendent”, these shocking statements surprise the reader as he refers to killing a human as a “job” – almost as if it is an unbearably boring but essential task. As this is an inhumane image it evokes a powerful surge of sympathy for the man awaiting execution. Even the word choice, “ought to have been dead” is disturbing as the reader learns a prisoner’s life is of little value to the callous guards. I feel particular anger towards the prison wardens as they are so brutal in their treatment to the inmates; hence “A Hanging” is clearly provocative.
As the essay progresses into a tense climax the writer cleverly uses ironic devices to delay the hanging and by doing so he engenders compassion in the reader for the “condemned” men – allowing the reader time to ponder their own views regarding capital punishment.
The first ironic device which is used is the ‘dog incident’: when a dog interrupts the sombre procession to the gallows and ironically choose to befriend the prisoner:
“Tried to lick his face. Everyone stood aghast”
The fact that the dog wanted to “lick” the prisoner’s face rather than the guards’is imperative as it makes the reader also want to make friends with this man due to sympathy. Dogs have an ability to perceive the difference between kind and unfriendly humans; obviously this dog is aware the wardens are malicious therefore it attempts to comfort the prisoner, thus having a forceful impact upon the reader and encouraging extreme dislike towards the guards.
Furthermore,Orwell’s use of distance is vital – he repetitively states the number of“yards” to the sinister gallows throughout the journey. In effect, this increases the tension, until the hanging itself, whereupon the climax ends. Secondly, the next ironic device which prolongs the man’s fate is when he subconsciously:
“step(s) aside to avoid a puddle”
It is at this key moment when the essayist realises the terrible wrongness of taking a life. Usually humans “avoid” puddles to prevent themselves from having
uncomfortably wet feet however this man knows he will die in the next few minutes so the reader questions his actions. The answer is simple – Orwell has deliberately used this image to show this man’s capability of responding to a basic human instinct. He is still “growing” and “healthy” therefore there is no reason for him to be murdered. Clearly this affects the reader’s emotions and stirs up a sense of melancholy. Most importantly, Orwell inserts a critically reflective paragraph into his essay to examine life. A reflective section in the midst of the narrative conveys the writer’s opinions towards execution. It has permitted the essayist to fully explore the morality of “destroying” a healthy conscious person, and display the fact that he strongly disagrees with capital punishment. I am of the opinion that by doing so he persuades the reader to also take this view on such a thought-provoking topic.
In addition, the third and final delay tactis is when the prisoner begins to pray to his god because he has given up on living. This scene, I feel, emits a rather haunting mood. His cries of "Ram! Ram! Ram!" are chilling yet simultaneously poignant. The repetition of this destressing chant reflects the seemingly vast amount of time before the hanging happens, consequently increasing the tense environment. It is worth taking into account that the writer discusses life more than death because it is easier to evoke empathy towards a living, breathing man. To convey the prisoner's death, Orwell - the master of simplicity - remembers it is:
“A sudden snap”
Through the essayist’s use of alliterative onomatopoeia he portrays the brevity of the situation: “snap” is an almost tangible sound whilst the alliterative “s”mirrors the sharp, quick action of killing the man, hence pity is provoked for him. Orwell’s economy with words aids his conveyance in reflecting on this horrific event. In contrast to the dull, uncomfortable backdrop before the hanging, the aftermath is a “homely, jolly scene” when the guards and prisoners alike begin to unwind and “chatter gaily.” As a result, we are reminded that life goes on in sudden contrast to the end of the prisoner’s life. Orwell’s final sentence ends the story on a tragic note:
"The dead man was a hundred yards away"
Here,the reader is adeptly reminded of the theme throughout the essay – the wrongness of capital punishment. The heart-wrenching image of cheerful wardens celebrating the success of executing a human being evokes a huge amount of sorrow and compassion for the deceased prisoner, provoking a passionate imcomprehension unto the jailors for their despicable behaviour.
“A Hanging”, by George Orwell has most definitely been a non-fiction text which I consider provocative. It has allowed me to expand my already concieved views on such a controversial topic and Orwell has firmly re-established my belief that capital punishment is completely wrong. The writer has effectively portrayed his characters to provoke an emotional reaction from the reader and I think this text is a supremely written, and inspiring essay.
Initially, the essay introduces the reader to the bleak Burmese setting where the “condemned” criminals are being held captive by merciless guards. Almost immediately, Orwell sculpts a dismal atmosphere through setting and word choice:
“A sodden morning of the rains”
Firstly, “sodden” suggests extremely uncomfortable saturation and sculpts an ominous ambience as it has connotations of uneasiness. The “rains” add to the
sympathetic background and creates an almost depressing tone as rain is ssociated with sadness. Contributing to Orwell’s foreboding atmosphere is his escription of the sunlight:
“A sickly light like yellow tinfoil”
The simile“a sickly light like yellow tinfoil” has an unhealthy denotation. Both "sickly" and "yellow" are adjectives normally related with illness and decay
hence the writer is insinuating the sunlight is abnormally off-colour; this reflects the unnaturalness of the situation taking place in Burma. Under usual conditions "light" and "tinfoil" are gleaming but to propse they are unhealthy looking is to suggest all is not well in the prison. I believe that Orwell's portrayal of a tense ambience helps the reader to understand that an aberrant event is about to take place, consequently this provokes anxiety and a slightly nervous reaction towards the overall situation.
Moreover, the guards' inhumanity to the prisoners is an unnerving one:
“Sheds fronted with double bars like small animals cages…brown silent men”
Again another effective simile, "double bars like small animals cages" is an example of the awful conditions in which these men live. To compare a human's cell to an "animal cage" is upsetting as the individuals in question are dehumanized; they are as insignificant as rodents. For this reason, a strong arousal of sympathy is provoked from the reader for them. In addition, the image of "brown silent men" evokes pity for the convicts as they are so frightened they will not speak. It gives the impression that these men are faceless and imprisonment has removed their individual characteristics. Accordingly the melancholy, downcast environment develops alongside the reader's compassion towards the prisoners.
To further provoke an emotive reaction, Orwell portrays cruelty at its peak. It becomes apparent in the second and third paragraphs of “A Hanging” just how harsh the wardens are. Through the writer’s characterisation and word choice the guards are conveyed as cold-hearted:
“‘The man ought to have been dead by this time…Can’t get their breakfast till this job’s over’ “
Spoken by the “superintendent”, these shocking statements surprise the reader as he refers to killing a human as a “job” – almost as if it is an unbearably boring but essential task. As this is an inhumane image it evokes a powerful surge of sympathy for the man awaiting execution. Even the word choice, “ought to have been dead” is disturbing as the reader learns a prisoner’s life is of little value to the callous guards. I feel particular anger towards the prison wardens as they are so brutal in their treatment to the inmates; hence “A Hanging” is clearly provocative.
As the essay progresses into a tense climax the writer cleverly uses ironic devices to delay the hanging and by doing so he engenders compassion in the reader for the “condemned” men – allowing the reader time to ponder their own views regarding capital punishment.
The first ironic device which is used is the ‘dog incident’: when a dog interrupts the sombre procession to the gallows and ironically choose to befriend the prisoner:
“Tried to lick his face. Everyone stood aghast”
The fact that the dog wanted to “lick” the prisoner’s face rather than the guards’is imperative as it makes the reader also want to make friends with this man due to sympathy. Dogs have an ability to perceive the difference between kind and unfriendly humans; obviously this dog is aware the wardens are malicious therefore it attempts to comfort the prisoner, thus having a forceful impact upon the reader and encouraging extreme dislike towards the guards.
Furthermore,Orwell’s use of distance is vital – he repetitively states the number of“yards” to the sinister gallows throughout the journey. In effect, this increases the tension, until the hanging itself, whereupon the climax ends. Secondly, the next ironic device which prolongs the man’s fate is when he subconsciously:
“step(s) aside to avoid a puddle”
It is at this key moment when the essayist realises the terrible wrongness of taking a life. Usually humans “avoid” puddles to prevent themselves from having
uncomfortably wet feet however this man knows he will die in the next few minutes so the reader questions his actions. The answer is simple – Orwell has deliberately used this image to show this man’s capability of responding to a basic human instinct. He is still “growing” and “healthy” therefore there is no reason for him to be murdered. Clearly this affects the reader’s emotions and stirs up a sense of melancholy. Most importantly, Orwell inserts a critically reflective paragraph into his essay to examine life. A reflective section in the midst of the narrative conveys the writer’s opinions towards execution. It has permitted the essayist to fully explore the morality of “destroying” a healthy conscious person, and display the fact that he strongly disagrees with capital punishment. I am of the opinion that by doing so he persuades the reader to also take this view on such a thought-provoking topic.
In addition, the third and final delay tactis is when the prisoner begins to pray to his god because he has given up on living. This scene, I feel, emits a rather haunting mood. His cries of "Ram! Ram! Ram!" are chilling yet simultaneously poignant. The repetition of this destressing chant reflects the seemingly vast amount of time before the hanging happens, consequently increasing the tense environment. It is worth taking into account that the writer discusses life more than death because it is easier to evoke empathy towards a living, breathing man. To convey the prisoner's death, Orwell - the master of simplicity - remembers it is:
“A sudden snap”
Through the essayist’s use of alliterative onomatopoeia he portrays the brevity of the situation: “snap” is an almost tangible sound whilst the alliterative “s”mirrors the sharp, quick action of killing the man, hence pity is provoked for him. Orwell’s economy with words aids his conveyance in reflecting on this horrific event. In contrast to the dull, uncomfortable backdrop before the hanging, the aftermath is a “homely, jolly scene” when the guards and prisoners alike begin to unwind and “chatter gaily.” As a result, we are reminded that life goes on in sudden contrast to the end of the prisoner’s life. Orwell’s final sentence ends the story on a tragic note:
"The dead man was a hundred yards away"
Here,the reader is adeptly reminded of the theme throughout the essay – the wrongness of capital punishment. The heart-wrenching image of cheerful wardens celebrating the success of executing a human being evokes a huge amount of sorrow and compassion for the deceased prisoner, provoking a passionate imcomprehension unto the jailors for their despicable behaviour.
“A Hanging”, by George Orwell has most definitely been a non-fiction text which I consider provocative. It has allowed me to expand my already concieved views on such a controversial topic and Orwell has firmly re-established my belief that capital punishment is completely wrong. The writer has effectively portrayed his characters to provoke an emotional reaction from the reader and I think this text is a supremely written, and inspiring essay.
More Than Just The Disease - Turning Point
“More than Just the Disease” written by Bernard MacLaverty is a short story with a critical turning point that influences the protagonist’s psychological change. The story is divided into three sections: the Middleton holiday home, the beach and the caravan; and it is in the initial setting where the reader first encounters the central character – Neil Fry – a shy, sensitive and self-effacing teenager with chronic psoriasis. The skin condition dominates his life and due to Neil’s intense insecurities he conceals his secret from even his best friend, Michael Middleton, whom he stays with during the story. This becomes a crucial factor as it results in the deterioration of the boys’ friendship through Neil’s refusal to join Michael in swimming. Not only does this adolescent have to deal with his disease but he also suffers at the hands of an extremely dominant mother; therefore he is suppressed by her opinions. Parental influence and the awkwardness of adolescence are the principle themes of this cleverly sculpted short story. MacLaverty constructs “More than Just the Disease” by his use of characterisation, setting and plot which, in turn, reinforces the importance of the essential turning point that transforms Neil Fry.
The vital turning point occurs when Neil enters Mrs Wan’s caravan. She is a neighbour of Michael’s who offers a compassionate ear to the apprehensive Neil, and he is also an eccentric, unconventional “Duchess” who listens attentively to Neil without judgement. By providing confidence through her fascinating anecdotes about her experience with lepers, Neil’s uneasiness fades away. The woman becomes a vehicle in steering him towards independence by asking him plainly to display his psoriasis. He finds that:
“In the sunlight it didn’t look so red”
Neil realises his psoriasis is not as horrific as his mother had led him to believe. Now relieved of the pressure to cover up his body, the reader can see Neil evolving into a new person altogether. No longer does he have to conjure up ridiculous excuses for refusing to go swimming with Michael such as “I’ve got my period”; because he has now accepted his condition with a new perspective on life. This epiphanic experience conveys that the boy is not embarrassed to reveal his true self and is confident in his own skin. MacLaverty’s use of the noun, “sunlight”is effective because just as the "sunlight” brings in a new dawn, Neil Fry is on the threshold of a new beginning. Michael stumbles upon their relaxed conversation and is shocked by his discovery:
“‘Mrs Wan, mum says could you tell her where…’ his voice trailed off seeing Neil’s chest, ‘the cheese grater is?’
Clearly, the use of the ellipsis indicates Michael’s sheer surprise towards this uncommon scene. Neil, who is displaying his chest to his best friend and a stranger, is now aware that he should never have been ashamed of his disease. Without a catalyst– Mrs Wan – Neil would not have had an epiphany and the two boys would not have overcome the obstacle which stood in the way of their friendship. Consequently, the turning point is critical because it influences Neil to develop from a self-engrossed being into an optimistic young man. I agree that the boy needed just a slight push in the correct direction to achieve his maximum potential and to be a
carefree youth once again.
Moreover, by close analysis the reader is made aware of Neil’s personality before the crucial turning point with Mrs Wan. At the outset of the story he is situated in
Michael’s holiday home, which appears to be “strange” and of an “unusual design”. As the child becomes increasingly anxious he begins to hear his mother’s voice reverberating in his head. The typography is visually effective here as the writer conveys his mother’s voice through the use of italics, for example, Neil imagines that she would ignorantly comment upon the décor of the Middleton’s home:
“A little too ornate for my taste.”
However the ambience soon changes Neil’s feelings when he joins Michael and his family in the homely living room. Maclaverty’s use of setting is particularly important in sculpting the idyllic scene:
“Growing dark of the large front room…legs flopped over the arm of the chair…Dr Middleton squeaking slowly back and forth”
Through his use of words such as, “growing dark” and “flopped” the writer highlights just how amicable and informal Michael’s family actually are. Although the tranquil atmosphere calms the agitated adolescent, he still cannot stop fretting about his psoriasis which is portrayed rather graphically as:
“Crawling all over his chest and shoulders: his psoriasis – a redness with an edge as irregular as a map”
The verb, “crawling” is effective as it paints a clear, unsightly visual image of insects invading his skin, suggesting the itch to be almost torturous. MacLaverty uses the colon and the dash together to isolate the word “psoriasis” thus emphasizing the significance of the disease. “A redness with an edge as irregular as a map” is an appropriate simile because just as a map has inconsistent coastlines so too does the boy’s skin condition. This repulsive representation then evokes sympathy from the reader towards the protagonist and perhaps even an understanding of his predicament.
As the story progresses, a crisis arises for the central character. Michael consistently begs Neil to come swimming with him but because Neil politely declines every offer his oblivious friend becomes highly irritated with him; consequently this results in a tense argument. MacLaverty uses the setting of the beach to help portray the idea of tension between the two boys:
“Scorching hot...heat corrugating the air…boiled”
Michael and Neil’s friendship begins to deteriorate as a result of Neil’s insecurities. Through the use of the sympathetic background, such as“scorching hot”,
MacLaverty deliberately makes the weather mirror the conflict between the two boys; when the unbearable heat reaches its peak, the story reaches a climax.
Furthermore, the hyperbolic adjective, “boiled” is an exaggeration of the intensity of the heat which establishes a dramatic atmosphere. Neil feels deserted so carries out activities by himself:
“He wandered…he went…he sat down…he lay back”
Neil’s isolation is accentuated by the boy being described with the pronoun, “he”, which is then repetitively followed by a verb indicating he does tasks
autonomously. The teenager is marginalised without Michael there to take away the continuously overbearing thoughts which his mother puts into his mind.
Whilst on the beach, Neil discovers Mrs Wan’s “frail” kitten and chooses to return it. Insider her caravan, everything is “untidy”. “Kit-e-Kat encrusted forks” and “saucers all over the floor with milk that evaporated leaving yellow rings” are just two of the many grotesque possessions in Mrs Wan’s abode. Despite these imperfections the boy feels comfortable in her bohemian, domestic environment as it is the polar opposite to his own meticulous home: therefore it provides security and freedom for Neil.
In the dénouement of “More than Just the Disease” the protagonist manages to liberate himself from his overpowering psoriasis. The young boy has made the
metamorphosis into a healthy, normal adolescent, which is a definite progression from the absorbed child whom we first encountered at the outset of the story.
Even though Neil participates in the much longed for pleasure of swimming – at last – there are still numerous factors which make it evident that Neil’s psychological change is a gradual one:
“Pale darkness…Neil sat down to wait in the shallows”
The fact that Neil offers to swim in the “darkness” is imperative because it displays mild insecurity. He is not at total ease in presenting his skin disease to the
outside world but he will slowly become accustomed to this positive behaviour. Neil also does not venture out to the depth of the sea where Michael is but instead “wait(s) in the shallows.” I, however, know this is a tremendous achievement for this boy; and the reader should be aware of the extent to which the vital turning point has shaped Neil Fry into a confident, satisfied individual who is now able to judge for himself.
“More than Just the Disease” finishes on an optimistic note, leaving the reader feeling delighted that the teenager has succeeded in overcoming his manipulating
disease, parental influence and awkwardness of adolescence. I could relate to Neil throughout the story and I think that any anxious adolescent reading this finely constructed short story will realise that they are not alone in brooding over any appearance worries which may control their life.
The vital turning point occurs when Neil enters Mrs Wan’s caravan. She is a neighbour of Michael’s who offers a compassionate ear to the apprehensive Neil, and he is also an eccentric, unconventional “Duchess” who listens attentively to Neil without judgement. By providing confidence through her fascinating anecdotes about her experience with lepers, Neil’s uneasiness fades away. The woman becomes a vehicle in steering him towards independence by asking him plainly to display his psoriasis. He finds that:
“In the sunlight it didn’t look so red”
Neil realises his psoriasis is not as horrific as his mother had led him to believe. Now relieved of the pressure to cover up his body, the reader can see Neil evolving into a new person altogether. No longer does he have to conjure up ridiculous excuses for refusing to go swimming with Michael such as “I’ve got my period”; because he has now accepted his condition with a new perspective on life. This epiphanic experience conveys that the boy is not embarrassed to reveal his true self and is confident in his own skin. MacLaverty’s use of the noun, “sunlight”is effective because just as the "sunlight” brings in a new dawn, Neil Fry is on the threshold of a new beginning. Michael stumbles upon their relaxed conversation and is shocked by his discovery:
“‘Mrs Wan, mum says could you tell her where…’ his voice trailed off seeing Neil’s chest, ‘the cheese grater is?’
Clearly, the use of the ellipsis indicates Michael’s sheer surprise towards this uncommon scene. Neil, who is displaying his chest to his best friend and a stranger, is now aware that he should never have been ashamed of his disease. Without a catalyst– Mrs Wan – Neil would not have had an epiphany and the two boys would not have overcome the obstacle which stood in the way of their friendship. Consequently, the turning point is critical because it influences Neil to develop from a self-engrossed being into an optimistic young man. I agree that the boy needed just a slight push in the correct direction to achieve his maximum potential and to be a
carefree youth once again.
Moreover, by close analysis the reader is made aware of Neil’s personality before the crucial turning point with Mrs Wan. At the outset of the story he is situated in
Michael’s holiday home, which appears to be “strange” and of an “unusual design”. As the child becomes increasingly anxious he begins to hear his mother’s voice reverberating in his head. The typography is visually effective here as the writer conveys his mother’s voice through the use of italics, for example, Neil imagines that she would ignorantly comment upon the décor of the Middleton’s home:
“A little too ornate for my taste.”
However the ambience soon changes Neil’s feelings when he joins Michael and his family in the homely living room. Maclaverty’s use of setting is particularly important in sculpting the idyllic scene:
“Growing dark of the large front room…legs flopped over the arm of the chair…Dr Middleton squeaking slowly back and forth”
Through his use of words such as, “growing dark” and “flopped” the writer highlights just how amicable and informal Michael’s family actually are. Although the tranquil atmosphere calms the agitated adolescent, he still cannot stop fretting about his psoriasis which is portrayed rather graphically as:
“Crawling all over his chest and shoulders: his psoriasis – a redness with an edge as irregular as a map”
The verb, “crawling” is effective as it paints a clear, unsightly visual image of insects invading his skin, suggesting the itch to be almost torturous. MacLaverty uses the colon and the dash together to isolate the word “psoriasis” thus emphasizing the significance of the disease. “A redness with an edge as irregular as a map” is an appropriate simile because just as a map has inconsistent coastlines so too does the boy’s skin condition. This repulsive representation then evokes sympathy from the reader towards the protagonist and perhaps even an understanding of his predicament.
As the story progresses, a crisis arises for the central character. Michael consistently begs Neil to come swimming with him but because Neil politely declines every offer his oblivious friend becomes highly irritated with him; consequently this results in a tense argument. MacLaverty uses the setting of the beach to help portray the idea of tension between the two boys:
“Scorching hot...heat corrugating the air…boiled”
Michael and Neil’s friendship begins to deteriorate as a result of Neil’s insecurities. Through the use of the sympathetic background, such as“scorching hot”,
MacLaverty deliberately makes the weather mirror the conflict between the two boys; when the unbearable heat reaches its peak, the story reaches a climax.
Furthermore, the hyperbolic adjective, “boiled” is an exaggeration of the intensity of the heat which establishes a dramatic atmosphere. Neil feels deserted so carries out activities by himself:
“He wandered…he went…he sat down…he lay back”
Neil’s isolation is accentuated by the boy being described with the pronoun, “he”, which is then repetitively followed by a verb indicating he does tasks
autonomously. The teenager is marginalised without Michael there to take away the continuously overbearing thoughts which his mother puts into his mind.
Whilst on the beach, Neil discovers Mrs Wan’s “frail” kitten and chooses to return it. Insider her caravan, everything is “untidy”. “Kit-e-Kat encrusted forks” and “saucers all over the floor with milk that evaporated leaving yellow rings” are just two of the many grotesque possessions in Mrs Wan’s abode. Despite these imperfections the boy feels comfortable in her bohemian, domestic environment as it is the polar opposite to his own meticulous home: therefore it provides security and freedom for Neil.
In the dénouement of “More than Just the Disease” the protagonist manages to liberate himself from his overpowering psoriasis. The young boy has made the
metamorphosis into a healthy, normal adolescent, which is a definite progression from the absorbed child whom we first encountered at the outset of the story.
Even though Neil participates in the much longed for pleasure of swimming – at last – there are still numerous factors which make it evident that Neil’s psychological change is a gradual one:
“Pale darkness…Neil sat down to wait in the shallows”
The fact that Neil offers to swim in the “darkness” is imperative because it displays mild insecurity. He is not at total ease in presenting his skin disease to the
outside world but he will slowly become accustomed to this positive behaviour. Neil also does not venture out to the depth of the sea where Michael is but instead “wait(s) in the shallows.” I, however, know this is a tremendous achievement for this boy; and the reader should be aware of the extent to which the vital turning point has shaped Neil Fry into a confident, satisfied individual who is now able to judge for himself.
“More than Just the Disease” finishes on an optimistic note, leaving the reader feeling delighted that the teenager has succeeded in overcoming his manipulating
disease, parental influence and awkwardness of adolescence. I could relate to Neil throughout the story and I think that any anxious adolescent reading this finely constructed short story will realise that they are not alone in brooding over any appearance worries which may control their life.
Othello
"Othello”, written by William Shakespeare is a tragic play in which a character keeps something hidden or pretends to be something he is not. Essentially the themes of this drama are love, revenge and jealously – which are displayed in every act. Othello – the eponymous hero – is a noble army general who is accused of taking Desdemona (the love of his life) away from her father ; the senator. The antagonist of “Othello” is a cunning military veteran – Iago – who is the root of all the evilness in the tragedy, Although he does not admit to having strong motives in seeking vengeance on Othello, Iago is able to convince everyone that he is an innocent bystander therefore the audience develops a deep hatred for this villainous being. As a result of Shakespeare’s expert use of techniques, such as characterisation and dramatic irony, he effectively conveys Iago’s devious nature and makes clear that Iago is in fact a character who is duplicitous.
Iago, throughout the drama, sneakily conveys his multiple personalities to selected individuals. Consequently the audience becomes more aware that he pretends to be someone who he is not. Firstly, he manipulates Roderigo – a jealous suitor of Desdemona – into giving him money in order to win the married woman’s heart.
Secondly, Iago uses Othello’s own lieutenant’s – Michael Cassio – youth, good looks and flirtatious manner to provoke Othello’s insecurities regarding a possible affair with Desdemona: this later results in the breakdown of their pure marriage. The principle motive that Iago has for his twisted actions is that he failed to secure a position as Othello’s lieutenant as Cassio proudly took the title instead. Iago even reveals he only desired such a position for his own gain:
“I follow him to serve my turn upon him”
This critical phrase suggests that Iago is amoral in that he puts on a false appearance for Othello – pretending he would be delighted to work below the
“Moor” – just to defeat Othello’s coveted reputation and succeed him. Clearly, Iago is fuelled by a wicked hunger to ruin Othello. I am of the opinion that this man personifies duplicity in this complex play and Shakespeare convincingly portrays Iago as fraudulent through his use of characterisation.
Moreover, the playwright offers an insight into the malicious workings of Iago’s convoluted mind as the tragedy continues. At the end of Act one, Iago discloses that his hatred of Othello is maintained by his jealously concerning a rumour that the Moor has slept with his wife:
“It is thought abroad that ‘twixt my
Sheets he’s done my office”
Obviously, Iago has become enveloped by envy with the thought that his wife has been having an affair with Othello. Iago has no proof of this apparent adultery but he is so set in his pedantic plans that he feels he does not require visual evidence: anything which will aid the corruption of Othello will be sufficient. Overall, I believe that the vile antagonist possesses an almost demonic-like trait as he takes so much pleasure in the misfortune of others. He is without doubt a character who does not reveal his true persona around anyone, consequently evoking an intense disgust from the audience.
Shakespeare, through his use of soliloquy portrays a conniving facet of Iago’s character. We see him alone on stage for the first time, where he openly speaks his mind about Roderigo:
“Thus I ever do make my fool my purse,
For I mine own gained knowledge should profane
If I would time expend with such a snipe
But for my sport and my profit”
Here Iago informs the audience of why he is friendly with Roderigo: for financial benefit. In addition to this, the use of the word “snipe” has connotations of extreme viciousness and animalistic imagery. Iago states that he spends time with Roderigo not just for an abundant supply of money but also for “sport” or enjoyment. Shakespeare has created a malignant character that truly does conceal more than he should. The audience feel resentment towards Iago for being so two-faced and deceptive towards his unwary victims.
Dramatic irony is another technique which is essential in fully conveying Iago’s false appearance. When conversing with Roderigo, Iago slips in an imperative statement which sums up his overall behaviour:
“I am not what I am”
I believe this is the key phrase to discovering Iago’s true identity. The use of this paradox provides irony because Iago – being the crafty man that he is –
lies to almost everyone. However he, on this occasion, speaks the truth to his accomplice and to the audience and could have put himself in a catastrophic situation if Roderigo had investigated this statement. Iago is a, rare, character who thrives from others’ pain and he does not display his true colours, perhaps because he is too ashamed of himself throughout the entire play.
“Othello” by William Shakespeare is clearly a tragic play in which one of the characters keeps something hidden and pretends to be something he is not; Iago definitely
hides numerous facts and pretends he is a different person to that of the dishonest man he really is. It is still unknown what Iago’s real motivations were for destroying both Othello and Cassio although it may be concluded that he did it for none other than total manic enjoyment. Iago is, plainly, the sick-minded villain whom the audience recognised from early on in the drama.
Iago, throughout the drama, sneakily conveys his multiple personalities to selected individuals. Consequently the audience becomes more aware that he pretends to be someone who he is not. Firstly, he manipulates Roderigo – a jealous suitor of Desdemona – into giving him money in order to win the married woman’s heart.
Secondly, Iago uses Othello’s own lieutenant’s – Michael Cassio – youth, good looks and flirtatious manner to provoke Othello’s insecurities regarding a possible affair with Desdemona: this later results in the breakdown of their pure marriage. The principle motive that Iago has for his twisted actions is that he failed to secure a position as Othello’s lieutenant as Cassio proudly took the title instead. Iago even reveals he only desired such a position for his own gain:
“I follow him to serve my turn upon him”
This critical phrase suggests that Iago is amoral in that he puts on a false appearance for Othello – pretending he would be delighted to work below the
“Moor” – just to defeat Othello’s coveted reputation and succeed him. Clearly, Iago is fuelled by a wicked hunger to ruin Othello. I am of the opinion that this man personifies duplicity in this complex play and Shakespeare convincingly portrays Iago as fraudulent through his use of characterisation.
Moreover, the playwright offers an insight into the malicious workings of Iago’s convoluted mind as the tragedy continues. At the end of Act one, Iago discloses that his hatred of Othello is maintained by his jealously concerning a rumour that the Moor has slept with his wife:
“It is thought abroad that ‘twixt my
Sheets he’s done my office”
Obviously, Iago has become enveloped by envy with the thought that his wife has been having an affair with Othello. Iago has no proof of this apparent adultery but he is so set in his pedantic plans that he feels he does not require visual evidence: anything which will aid the corruption of Othello will be sufficient. Overall, I believe that the vile antagonist possesses an almost demonic-like trait as he takes so much pleasure in the misfortune of others. He is without doubt a character who does not reveal his true persona around anyone, consequently evoking an intense disgust from the audience.
Shakespeare, through his use of soliloquy portrays a conniving facet of Iago’s character. We see him alone on stage for the first time, where he openly speaks his mind about Roderigo:
“Thus I ever do make my fool my purse,
For I mine own gained knowledge should profane
If I would time expend with such a snipe
But for my sport and my profit”
Here Iago informs the audience of why he is friendly with Roderigo: for financial benefit. In addition to this, the use of the word “snipe” has connotations of extreme viciousness and animalistic imagery. Iago states that he spends time with Roderigo not just for an abundant supply of money but also for “sport” or enjoyment. Shakespeare has created a malignant character that truly does conceal more than he should. The audience feel resentment towards Iago for being so two-faced and deceptive towards his unwary victims.
Dramatic irony is another technique which is essential in fully conveying Iago’s false appearance. When conversing with Roderigo, Iago slips in an imperative statement which sums up his overall behaviour:
“I am not what I am”
I believe this is the key phrase to discovering Iago’s true identity. The use of this paradox provides irony because Iago – being the crafty man that he is –
lies to almost everyone. However he, on this occasion, speaks the truth to his accomplice and to the audience and could have put himself in a catastrophic situation if Roderigo had investigated this statement. Iago is a, rare, character who thrives from others’ pain and he does not display his true colours, perhaps because he is too ashamed of himself throughout the entire play.
“Othello” by William Shakespeare is clearly a tragic play in which one of the characters keeps something hidden and pretends to be something he is not; Iago definitely
hides numerous facts and pretends he is a different person to that of the dishonest man he really is. It is still unknown what Iago’s real motivations were for destroying both Othello and Cassio although it may be concluded that he did it for none other than total manic enjoyment. Iago is, plainly, the sick-minded villain whom the audience recognised from early on in the drama.
Othello's confidence
William Shakespeare’s, “Othello” is a complex drama in which the eponymous character’s – Othello- confidence in his own abilities in justified in Act one. Primarily, the central concerns of this tragic drama are love and jealously. As a highly respected, black North African, Othello is an eloquent and powerful figure who has become besotted with Desdemona, senator Brabantio’s daughter. However, Iago – the cunning, deceptive antagonist – has persuaded Brabantio that the “Moor” has taken his precious daughter and destroyed her innocence, therefore provoking an intense dislike towards Othello. Through Shakespeare’s clever use of techniques such as imagery, word choice and characterisation, it becomes apparent that the protagonist displays great self-confidence.
Initially, in Act one, Othello conveys a strong persona and dismisses the idea of Brabantio attempting to annul his marriage to the beautiful Desdemona by stating that the favours which he has paid to Venice will outweigh anything that Brabantio can say:
“Let him do his spite
My services which I have done the signory
Shall out-tongue his complaints”
Here, Othello is immensely comfortable and self-assured in his marriage’s security because he believes his actions in battle have ensured him safety. As a result
of Shakespeare’s metaphorical image, “out-tongue” a picture is created of Othello’s tongue literally winning a battle with Brabantio’s as his many conquests allow; consequently reinforcing the fact that Othello oozes confidence in his abilities. I believe that this image is particularly effective in sculpting the admirable traits which Othello possesses.
Moreover, the protagonist’s wife – Desdemona –loves him dearly due to his “valiant” personality and the exotic stories he would recall to her, concerning his journeys to “rough quarries, rocks and hills whose heads touch heaven.” Despite these unique experiences, including his military achievements, Othello remains loyal, honest and modest –especially as he faces Brabantio’s angry crowd of followers and is able to calm them down with a few chosen words:
“Keep up your bright swords, for the dew will rust them”
In this situation, Othello displays wisdom as he manages to single-handedly tame the crowd. He puts forward an authoritative stance; this, in turn, aids the portrayal of Othello’s assertiveness in his own potential. Also, Desdemona substantiates Othello’s adamance that he did not bewitch or use “mixtures powerful” to make her fall in love with him. Therefore, the reader is inclined to believe these sympathetic characters – as they are both trustworthy individuals.
On the other hand, the tragic hero displays facets of his personality through his actions (and through the dialogue of Iago) which lead the reader into thinking Othello’s confidence in his abilities is not fully justified. He appears to be too trusting and gullible so he is an easy target for Iago to plot his revenge because Othello promoted Michael Cassio instead of Iago. Consciously, Iago highlights this flaw when he states:
“The Moor is of a free and open nature,
That thinks men honest but seem to b so,
And will be as tenderly led by the nose
As asses are”
Through Shakespeare’s use of adjectives, “free”and “honest” he implies that Othello is an extremely pleasant but vulnerable character, as these words have connotations of innocence and naivety. In addition, the image of the “Moor” being “led by the nose as asses are” is effective as the dramatist puts across the idea that Othello trusts everyone enough to believe that nobody would ever wish to do something disloyal or wicked unto him, therefore this is valuable evidence that Othello’s self-assurance in his capacity is not fully accounted for.
Furthermore, Othello is blinded to Iago’s duplicitous nature and his intent in Act one – which is to essentially bring misery to Othello. After revealing explicitly “I am not what I am” to Roderigo– his comrade – Iago shows he has many different faces but displays only certain personalities to selected people. In act one, Iago manipulates Othello and is prepared to go to a ridiculous length in order to seek vengeance; even is that means working at a more inferior level in the Venetian army:
"I follow him to serve my turn upon him”
The simplicity of Iago’s statement makes clear the fact that he is most definitely a heartless man who is set in attempting to destroy Othello’s hard-earned superiority. I believe that by Shakespeare’s use of juxtaposition of characters he has conveyed the pure hate which Iago feels for the hero of the play is so powerful that it is enough to suggest that the eponymous character’s confidence is ineffectual against such enmity.
“Othello”,by William Shakespeare is a drama in which the protagonist only partially displays enough confidence therefore his assertiveness in his own abilities is justified to some extent. Due to Othello’s within the army, his ease of authoritative speech and his wife’s undying love for him he is depicted as being highly proud and comfortable within his himself, yet Iago has slyly proved that Othello’s self-assurance is misplaced because he is naïve. By the dénouement of the first act of this tragedy it is evident that Othello’s faith in his aptitude is not completely fulfilled.
He Told Us He Wanted A Black Coffin
Jackie Kay’s dramatic monologue, “He told us he wanted a Black Coffin” is a poem in which a distinctive personality is exhibited to the reader.
Immediately, the poem introduces us to a grieving mother who has tragically lost her son to the fatal disease - AIDS. To convey the intensity of the maternal
bond, Kay focuses primarily on two themes: premature death and a mother’s loss; both of which are strongly accentuated throughout the dramatic monologue. It
becomes apparent through Kay’s use of structure, imagery and characterisation that the son’s death has consumed the mother and she is therefore deeply
affected.
The first facet of the mother’s personality which is explored in stanza one is the sheer normality of her actions and thoughts. We are made aware that after her son’s death she“phoned up the funeral director.” As a result of Kay’s use of demotic language,“phoned up”, the reader is familiarized with her ordinary personality, and can glean she is a working class, Scottish woman because she uses the rhythms and word choice of everyday speech. In addition to this, Kay’s use of the simile,“he went out like Charles Rennie Mackintosh” conveys a snippet of her son’s persona as it suggests just as “Charles Rennie Mackintosh” was stylish and unique so too was her son. Even through the colloquial expression, “he went out” the poet draws attention to the mother’s normality; hence the reader can easily sympathize with her and is able to feel great empathy towards the woman.
Essentially, the key tone used by Kay in the following stanza is one of maternal love and pride. Despairingly, the mother recalls the youthful years of her son and is depicted to be immensely protective towards him:
“I wanted to take the abscess out of is five year old mouth and put it in mine.”
It is blatant that the mother was desperate to alleviate her child’s suffering in any way she could. Not only does this portray her maternal instinct but also her general kindness towards others. Kay’s use of parallel sentence structure, “I wanted to”,emphasizes the torment the mother had to endure as her son experienced this pain. Moreover, the mother even uncharacteristically swore at her neighbour for humiliating her precious boy:
“I swore at Mrs Calder for calling my son a poof in front of hers.”
The use of the word “poof”has a vulgar denotation thus effectively moulding an atmosphere of tension. The fact that “Mrs Calder” insulted her son must have been embarrassing – but to call him this “in front of” her own son increased the mother’s anger significantly; enough for her to come out of character and add a completely new, defensive aspect to her personality - and her loving personality is appreciated by the reader. Also we are told her son is “a poof” yet his mother:
“always knew from when he was thirteen and he cried when Gavin moved to Aberdeen.”
The rhyming couplet,“thirteen” and “Aberdeen”deliberately marries the sentences together to highlight the mother’s full acceptance of her
son’s acceptance of her son’s sexual orientation. She does not question his decisions but instead she supports his choice and comforts him in times of anguish. Her personality is that of a proper mother because she instinctively protects and soothes him. Further appreciation and respect is felt for the mother under these circumstances.
The atmosphere dramatically changes however in stanza three as the reader encounters her son’s voice breaking into her personal speech. Although this is a rare technique, in here it is highly effective because we are made aware of her son’s extreme suffering and his adamant refusal to relieve himself of his pain:
“No morphine no morphine no morphine.”
The lack of punctuation and repetition of the negative “no” conveys a poignant scene. It emphasizes the desperation of her son to be alive and to be able to feel anything – even if it is only a terrible, gnawing pain. Consequently, the mother’s nostalgic persona comes into focus when she reminisces about the times when there was something she could do to lessen his suffering:
“No first aid box, no oil of cloves, no germolene.”
Obviously these ‘healing’nouns were used to treat her son’s childhood ailments, but because Kay has placed “no” before the medicines the reader is fully aware of her uselessness –nothing she can do will help her son; his pain is out of her control, thus provoking fear, despair and total frustration from her. Nevertheless, the mother will always have vivid, cheerful memories of her son before AIDS ended his life:
“Careering down the hill in the park
His sledge a huge pair of wings.”
The verb “careering” is effective in conveying her son’s freedom and carefree youth. He believes himself to be an invincible boy who is safe from the horrors of the outside world; this is not the case because we know he has ironically lost his life to an awful disease. The image of “wings” is later juxtaposed with the man dying in hospital: “his face a person from Belsen.”This is a heart-rending comparison as his freedom is contrasted to his marginalisation at being confined to his hospital bed.
Kay’s use of the metaphor, “his face a person from Belsen” is appropriate because the prisoners in this particular concentration camp were emaciated and deathly-pale – just as her son is. Also, this image suggests his rapid physical deterioration. We can relate deeply to the mother’s desperation and finally her acceptance of her son’s death.
In conclusion, “He Told Us He Wanted a Black Coffin” is a hard-hitting, thought-provoking dramatic monologue which explores all the different aspects to the protagonist’s personality. Jackie Kay has finely sculpted this poem in such a way that the reader feels many emotions towards the stricken mother, and is satisfied that her persona has been unravelled extensively.
Immediately, the poem introduces us to a grieving mother who has tragically lost her son to the fatal disease - AIDS. To convey the intensity of the maternal
bond, Kay focuses primarily on two themes: premature death and a mother’s loss; both of which are strongly accentuated throughout the dramatic monologue. It
becomes apparent through Kay’s use of structure, imagery and characterisation that the son’s death has consumed the mother and she is therefore deeply
affected.
The first facet of the mother’s personality which is explored in stanza one is the sheer normality of her actions and thoughts. We are made aware that after her son’s death she“phoned up the funeral director.” As a result of Kay’s use of demotic language,“phoned up”, the reader is familiarized with her ordinary personality, and can glean she is a working class, Scottish woman because she uses the rhythms and word choice of everyday speech. In addition to this, Kay’s use of the simile,“he went out like Charles Rennie Mackintosh” conveys a snippet of her son’s persona as it suggests just as “Charles Rennie Mackintosh” was stylish and unique so too was her son. Even through the colloquial expression, “he went out” the poet draws attention to the mother’s normality; hence the reader can easily sympathize with her and is able to feel great empathy towards the woman.
Essentially, the key tone used by Kay in the following stanza is one of maternal love and pride. Despairingly, the mother recalls the youthful years of her son and is depicted to be immensely protective towards him:
“I wanted to take the abscess out of is five year old mouth and put it in mine.”
It is blatant that the mother was desperate to alleviate her child’s suffering in any way she could. Not only does this portray her maternal instinct but also her general kindness towards others. Kay’s use of parallel sentence structure, “I wanted to”,emphasizes the torment the mother had to endure as her son experienced this pain. Moreover, the mother even uncharacteristically swore at her neighbour for humiliating her precious boy:
“I swore at Mrs Calder for calling my son a poof in front of hers.”
The use of the word “poof”has a vulgar denotation thus effectively moulding an atmosphere of tension. The fact that “Mrs Calder” insulted her son must have been embarrassing – but to call him this “in front of” her own son increased the mother’s anger significantly; enough for her to come out of character and add a completely new, defensive aspect to her personality - and her loving personality is appreciated by the reader. Also we are told her son is “a poof” yet his mother:
“always knew from when he was thirteen and he cried when Gavin moved to Aberdeen.”
The rhyming couplet,“thirteen” and “Aberdeen”deliberately marries the sentences together to highlight the mother’s full acceptance of her
son’s acceptance of her son’s sexual orientation. She does not question his decisions but instead she supports his choice and comforts him in times of anguish. Her personality is that of a proper mother because she instinctively protects and soothes him. Further appreciation and respect is felt for the mother under these circumstances.
The atmosphere dramatically changes however in stanza three as the reader encounters her son’s voice breaking into her personal speech. Although this is a rare technique, in here it is highly effective because we are made aware of her son’s extreme suffering and his adamant refusal to relieve himself of his pain:
“No morphine no morphine no morphine.”
The lack of punctuation and repetition of the negative “no” conveys a poignant scene. It emphasizes the desperation of her son to be alive and to be able to feel anything – even if it is only a terrible, gnawing pain. Consequently, the mother’s nostalgic persona comes into focus when she reminisces about the times when there was something she could do to lessen his suffering:
“No first aid box, no oil of cloves, no germolene.”
Obviously these ‘healing’nouns were used to treat her son’s childhood ailments, but because Kay has placed “no” before the medicines the reader is fully aware of her uselessness –nothing she can do will help her son; his pain is out of her control, thus provoking fear, despair and total frustration from her. Nevertheless, the mother will always have vivid, cheerful memories of her son before AIDS ended his life:
“Careering down the hill in the park
His sledge a huge pair of wings.”
The verb “careering” is effective in conveying her son’s freedom and carefree youth. He believes himself to be an invincible boy who is safe from the horrors of the outside world; this is not the case because we know he has ironically lost his life to an awful disease. The image of “wings” is later juxtaposed with the man dying in hospital: “his face a person from Belsen.”This is a heart-rending comparison as his freedom is contrasted to his marginalisation at being confined to his hospital bed.
Kay’s use of the metaphor, “his face a person from Belsen” is appropriate because the prisoners in this particular concentration camp were emaciated and deathly-pale – just as her son is. Also, this image suggests his rapid physical deterioration. We can relate deeply to the mother’s desperation and finally her acceptance of her son’s death.
In conclusion, “He Told Us He Wanted a Black Coffin” is a hard-hitting, thought-provoking dramatic monologue which explores all the different aspects to the protagonist’s personality. Jackie Kay has finely sculpted this poem in such a way that the reader feels many emotions towards the stricken mother, and is satisfied that her persona has been unravelled extensively.
Follower
Seamus Heaney’s, “Follower” is a poem in which the poet creates a picture of a heroic figure whose personality is clearly depicted. The poet reflects on the relationship between his younger self and his father – his childhood hero. Immediately, we are introduced to the main focus of the poem – Heaney’s hard-working father – with the poet’s vivid memory of himself constantly following his father around their farm. It becomes apparent, through Heaney’s use of imagery, word choice, jargon and a plethora of other poetic techniques, that his father was a true hero with an admirable personality which is explored extensively throughout “Follower.”
In the opening two stanzas the poet conveys his father’s strength and skill through both imagery and jargon. Cleverly, he uses imagery to reveal this strength and jargon to help support his characterisation. His father is identified as a farmer as Heaney remembers he “worked with a horse plough”, therefore it is obvious that he had to carry out mundane tasks which required a great deal of strength:
“His shoulders globed like a full sail strung.”
The metaphor, “shoulders globed” suggests great power, thus having connotations of the Greek God – Atlas – who was forced to support the entire globe upon his shoulders. Furthermore, the simile has a nautical reference which is comparing his father’s shoulders to a ship's sail to imply an even greater strength. This unique visual image allows the reader to envisage a sailing boat gliding gracefully through tranquil waters and then to compare the image to Heaney’s father’s precise skill in ploughing the land. The poet’s comparison is effective as the reader has a stronger image imprinted onto their mind. Later on, in the second stanza, Heaney acknowledges his father’s expertise and skill:
“An expert…set the wing…fit the bright-pointed sock…head rig"
“An expert” is placed at the beginning of stanza, which is a place of emphasis, to make this minor sentence visually impactful. His father is clearly portrayed as a heroic figure because he knows absolutely everything that there is to know regarding farming. I am now aware of why young Heaney admired his talented father so much. Also, through the poet’s use of jargon, “sock”, “wing”and “head rig” he conveys his father’s expertise. Although the reader may not be familiar with these
terms, they can still appreciate the father’s vast knowledge and realise that this contributes to his heroic qualities.
In addition to this, the father’s ease and effortless control over his horses is examined through Heaney’s contrast, imagery, enjambment and word choice in the third stanza; consequently he develops the idea of his father being the best in his field. Firstly, his father worked ceaselessly, with no interruptions:
“With a single pluck of reins, the sweating team turned round.”
Just as the lines “single pluck” and “of reins” flow from one stanza to the next, so too did Heaney’s father change direction when ploughing the land. This use of enjambment is effective as it clearly conveys the father’s tight control that he held over his horses. Moreover, the horses are exerting themselves, “sweating team” and this is then contrasted with the father’s “single pluck” to accentuate his brute power. Heaney’s word choice, “pluck” suggests a simple action that does not require energy therefore the image reinforces the idea of father’s effortless control. Not only is his father depicted to be powerful, but also intelligent; so intelligent, in fact, that he can judge what is required through instinct alone:
“Eye narrowed and angled at the ground, mapping the furrow exactly.”
Through the poet’s careful use of word choice, “mapping” he suggests that his father’s actions are similar to a sailor navigating his route across the sea, hence the
nautical image is continued. Sailing requires a great amount of skill and concentration and through this clever comparison Heaney draws attention to his
father’s expertise in ploughing. Also the image of “his eye narrowed and angled” allows the reader to glean that his father was precise man who preferred to make accurate estimations. I am of the opinion that his father had such an effortless control over his horses that it is obvious of why his son idolized his father – who truly is a heroic figure to his son.
Heaney, in the final three stanzas explains how he was unsuccessful in following in his father’s footsteps. Through his use of imagery and word choice, Heaney depicts his father’s admirable personality in contrast to his clumsiness in childhood. His remarkable parent builds a strong impression for the boy:
“His hobnailed wake”
The image painted here is powerful as the adjective “hobnailed” suggests sturdy, masculine working boots. Furthermore, the noun, “wake” is yet another nautical reference as it relates to the disturbed water left behind a boat as it journeys across the sea. I believe that Heaney’s father must have been an extremely dedicated farmer who used all of his strength for the field to have a“hobnailed wake.” Additionally, the father’s craftsmanship is highlighted:
“The polished sod”
As a result of the juxtaposition of “polished”and “sod” Heaney accentuates the unusualness of the situation because these two words would not normally be used in the same context; diamonds are usually associated with being “polished” but here the poet conveys the soil with his adjective. I think Heaney depicted the soil as “polished” to add to the idea that his father always produced work of a high standard so even the dirty soil appears pristine and smooth.
Over and above his father’s perfectionism, Heaney did not live up to his father’s expectations and even when he was younger this was apparent:
“I was a nuisance, tripping, falling, yapping always.”
Heaney conveys himself as an annoying and whining child who distracts his expert father from important farming work. The present participles, “tripping,
“falling” and “yapping” display a sense of immediacy; as if his son was constantly following his father and irritating him. “Yapping” provokes an image of a highly bothersome, high-pitched dog who barks repetitively; therefore this contributes to the image of Heaney disturbing his father. It is clear that the father must have had a patient aspect to his personality, which adds to Heaney’s emulation of him.
However, there is a change of tone in the final three lines of the poem when Heaney – as an adult – shows that the roles between father and son have been reversed
through his use of tense:
“Today it is my father who keeps stumbling behind me, and will not go away.”
Heaney’s use of present tense indicates the role reversal: it is now the father following his child around. The idea of “behind me” implies he is being
followed. In addition, the use of the present participle verb, “stumbling” suggests his father is having difficulty walking due to old age. Not only does “stumbling” create
an impression of his physical inability but also he is metaphorically “stumbling” on his son’s guilty conscience and Heaney feels he must care for the man
whom he adulated in his childhood. Moreover, “will not go away” displays the poet’s irritated tone because he does not want to look after his struggling father but feels compelled to do so as his father was patient and caring towards him in the past. I feel a surge of sympathy towards Heaney’s father as I am aware he had no longer appears to be the admirable and powerful figure which we first encountered, but a frail and dependant old man; yet I believe Heaney will always hold the treasured memory of his father being a hard-working and heroic figure.
In conclusion, Heaney’s expertly constructed, “Follower” has sculpted a picture of a heroic figure whose personality was clearly portrayed to the reader. The father in this poem was conveyed as talented, precise, patient, strong and loving; all of these facets of his personality accumulate to make him the admirable father whom his son recognised from such an early age. Heaney's use of poetic techniques aidede his characterisation and I am of the opinion that Heaney's father's heroic personality has been unravelled extensively.
In the opening two stanzas the poet conveys his father’s strength and skill through both imagery and jargon. Cleverly, he uses imagery to reveal this strength and jargon to help support his characterisation. His father is identified as a farmer as Heaney remembers he “worked with a horse plough”, therefore it is obvious that he had to carry out mundane tasks which required a great deal of strength:
“His shoulders globed like a full sail strung.”
The metaphor, “shoulders globed” suggests great power, thus having connotations of the Greek God – Atlas – who was forced to support the entire globe upon his shoulders. Furthermore, the simile has a nautical reference which is comparing his father’s shoulders to a ship's sail to imply an even greater strength. This unique visual image allows the reader to envisage a sailing boat gliding gracefully through tranquil waters and then to compare the image to Heaney’s father’s precise skill in ploughing the land. The poet’s comparison is effective as the reader has a stronger image imprinted onto their mind. Later on, in the second stanza, Heaney acknowledges his father’s expertise and skill:
“An expert…set the wing…fit the bright-pointed sock…head rig"
“An expert” is placed at the beginning of stanza, which is a place of emphasis, to make this minor sentence visually impactful. His father is clearly portrayed as a heroic figure because he knows absolutely everything that there is to know regarding farming. I am now aware of why young Heaney admired his talented father so much. Also, through the poet’s use of jargon, “sock”, “wing”and “head rig” he conveys his father’s expertise. Although the reader may not be familiar with these
terms, they can still appreciate the father’s vast knowledge and realise that this contributes to his heroic qualities.
In addition to this, the father’s ease and effortless control over his horses is examined through Heaney’s contrast, imagery, enjambment and word choice in the third stanza; consequently he develops the idea of his father being the best in his field. Firstly, his father worked ceaselessly, with no interruptions:
“With a single pluck of reins, the sweating team turned round.”
Just as the lines “single pluck” and “of reins” flow from one stanza to the next, so too did Heaney’s father change direction when ploughing the land. This use of enjambment is effective as it clearly conveys the father’s tight control that he held over his horses. Moreover, the horses are exerting themselves, “sweating team” and this is then contrasted with the father’s “single pluck” to accentuate his brute power. Heaney’s word choice, “pluck” suggests a simple action that does not require energy therefore the image reinforces the idea of father’s effortless control. Not only is his father depicted to be powerful, but also intelligent; so intelligent, in fact, that he can judge what is required through instinct alone:
“Eye narrowed and angled at the ground, mapping the furrow exactly.”
Through the poet’s careful use of word choice, “mapping” he suggests that his father’s actions are similar to a sailor navigating his route across the sea, hence the
nautical image is continued. Sailing requires a great amount of skill and concentration and through this clever comparison Heaney draws attention to his
father’s expertise in ploughing. Also the image of “his eye narrowed and angled” allows the reader to glean that his father was precise man who preferred to make accurate estimations. I am of the opinion that his father had such an effortless control over his horses that it is obvious of why his son idolized his father – who truly is a heroic figure to his son.
Heaney, in the final three stanzas explains how he was unsuccessful in following in his father’s footsteps. Through his use of imagery and word choice, Heaney depicts his father’s admirable personality in contrast to his clumsiness in childhood. His remarkable parent builds a strong impression for the boy:
“His hobnailed wake”
The image painted here is powerful as the adjective “hobnailed” suggests sturdy, masculine working boots. Furthermore, the noun, “wake” is yet another nautical reference as it relates to the disturbed water left behind a boat as it journeys across the sea. I believe that Heaney’s father must have been an extremely dedicated farmer who used all of his strength for the field to have a“hobnailed wake.” Additionally, the father’s craftsmanship is highlighted:
“The polished sod”
As a result of the juxtaposition of “polished”and “sod” Heaney accentuates the unusualness of the situation because these two words would not normally be used in the same context; diamonds are usually associated with being “polished” but here the poet conveys the soil with his adjective. I think Heaney depicted the soil as “polished” to add to the idea that his father always produced work of a high standard so even the dirty soil appears pristine and smooth.
Over and above his father’s perfectionism, Heaney did not live up to his father’s expectations and even when he was younger this was apparent:
“I was a nuisance, tripping, falling, yapping always.”
Heaney conveys himself as an annoying and whining child who distracts his expert father from important farming work. The present participles, “tripping,
“falling” and “yapping” display a sense of immediacy; as if his son was constantly following his father and irritating him. “Yapping” provokes an image of a highly bothersome, high-pitched dog who barks repetitively; therefore this contributes to the image of Heaney disturbing his father. It is clear that the father must have had a patient aspect to his personality, which adds to Heaney’s emulation of him.
However, there is a change of tone in the final three lines of the poem when Heaney – as an adult – shows that the roles between father and son have been reversed
through his use of tense:
“Today it is my father who keeps stumbling behind me, and will not go away.”
Heaney’s use of present tense indicates the role reversal: it is now the father following his child around. The idea of “behind me” implies he is being
followed. In addition, the use of the present participle verb, “stumbling” suggests his father is having difficulty walking due to old age. Not only does “stumbling” create
an impression of his physical inability but also he is metaphorically “stumbling” on his son’s guilty conscience and Heaney feels he must care for the man
whom he adulated in his childhood. Moreover, “will not go away” displays the poet’s irritated tone because he does not want to look after his struggling father but feels compelled to do so as his father was patient and caring towards him in the past. I feel a surge of sympathy towards Heaney’s father as I am aware he had no longer appears to be the admirable and powerful figure which we first encountered, but a frail and dependant old man; yet I believe Heaney will always hold the treasured memory of his father being a hard-working and heroic figure.
In conclusion, Heaney’s expertly constructed, “Follower” has sculpted a picture of a heroic figure whose personality was clearly portrayed to the reader. The father in this poem was conveyed as talented, precise, patient, strong and loving; all of these facets of his personality accumulate to make him the admirable father whom his son recognised from such an early age. Heaney's use of poetic techniques aidede his characterisation and I am of the opinion that Heaney's father's heroic personality has been unravelled extensively.