Rapture

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The word gaped in the final line may have significance as it has subtle sexual connotations as the word is often associated with an ill-fitting blouse. Another provocative piece of language used. Poet, playwright and freelance writer Carol Ann Duffy was born on 23 December 1955 in Glasgow and read philosophy at Liverpool University.

Carol Ann Duffy Poems Everyone Should Read 10 of the Best Carol Ann Duffy Poems Everyone Should Read

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? The narrator uses interesting language in the first line of this stanza of the poem. They personify their thoughts and in doing so create a powerful piece of imagery. The fact that it refers to their thoughts as “uninvited” suggests that they are powerless to control how they feel and wouldn’t want to feel that way. This line definitely suggests that the narrator can’t get the object of their affection out of their head. Rapture is a collection of poetry written by the Scottish poet Carol Ann Duffy, the British poet laureate from 2009 to 2019. It marks her 37th work of poetry and has been described as "intensely personal, emotional and elegiac, and markedly different from Duffy’s other works" by the British Council. [1] Rapture was first published in 2005 in the UK by Picador, and in 2013 in the US, by Farrar, Straus, and Giroux. [2] Sean O’Brien, ‘Carol Ann Duffy: a stranger here myself’ in The Deregulated Muse (Newcastle: Bloodaxe, 1998) Here 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.

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CAROL: So, you’re thinking in terms of legacy, but I don’t think in those terms, so, I would have to say the idea of legacy has occurred to me. Some of Duffy's phrases will not let you be. Living our ordinary lives without passion, we are "queuing for death"; speaking ordinary phrases without telling the whole truth means that "words, / are the cauls of the unsaid". The grammar and the thematic structures of Duffy's poems can seem compacted, as in the opening line of "Rapture": "Thought of by you all day, I think of you." But if you sometimes have to work hard to unknot Duffy's sense, the unravelling rewards. The Love Poem’ by Carol Ann Duffy consists of three stanzas. Each stanza of the poem has 12 verses. However, the poem is modern or modern in some respects, as the term “modern’ came to be defined by modernism, wherein it departs from regular metrical schemes and is fragmented or semi-fragmented in appearance as well as in meaning.

Rapture by Carol Ann Duffy - The Rumpus Rapture by Carol Ann Duffy - The Rumpus

The poem presents itself in one single stanza but is effectively a sonnet as it contains fourteen lines. It seems to be a classic Shakespearean sonnet with the rhyming pattern ABABCDCDEFEFGG. It also ties into this tradition by being written in iambic pentameter. The poem, as is commonly the case with sonnets, is a love poem of sorts. Is this volume, winner of the T.S.Eliot Prize, as subversive (sub-verse) as it is obsessive? Is poetry subversive? A.R. Ammons said: “Yes, you have no idea how subversive – deeply subversive. Consciousness often reaches a deeply intense level at the edges of things, questioning and undermining accepted ways of doing things. The audience resists the change to the last moment, and then is grateful for it.”There is a tradition for the sequence of love poems. It runs from Shakespeare's sonnets or John Donne's poems, through to Elizabeth Barrett Browning's Sonnets from the Portuguese and Adrienne Rich's Twenty-One Love Poems. For the most part, the tale is sad. Only EBB actually got to marry her man . . . and maybe that happy ending was a bit sad too. These poems are almost old-fashioned in their commitment to rhyme, assonance and metre. In several poems there is a fairytale vocabulary, and ballad forms appear in "Betrothal" and in "Give": And on Duffy’s other shoulder, H.D. is perched. In these poems, you’ll find finely wrought imagism. But prepare yourself for the sad volta. From all-love to not-love. The animate and inanimate elements of the planet mirror and respond to the poet’s inner world and experience, feeling strikingly rational. From “Wintering”: