Through its tone, a poem may either admire and celebrate its subject matter, or deplore and
condemn it. Compare the techniques used to create such tones and the effects achieved in the work
of at least two poets you have studied.
By The45Girl
Seamus Heaney and Carol Ann Duffy both utilise techniques such as diction, imagery and sound
devices to craft tones which either admire and celebrate the subject-matter or deplore and condemn
it and thus elicit similar emotions in the reader.
Seamus Heaney uses symbolism, diction and sound devices to create tones of both admiration and
condemnation. In his poem, Requiem for the Croppies, which celebrates the inspiration for the 1916
Easter Rising, he uses the symbol of barley to represent tenacity and bravery and elicit admiration in
the reader. The last line begins with “and” and this almost slows the poem down, evoking a sense of
both finality and anticipation. He also uses inclusive diction, such as “a people”, “priest…with the
tramp”. This evokes a feeling of solidarity in the reader and creates celebration for the roots of Irish
resistance. The diction of deprivation and lack (“no kitchen…no striking camp), combined with the
clear juxtaposition between the militarily disadvantaged Irish fighters and the British soldiers with
their horses serve to increase admiration for the Irish who, despite their smaller amount of material
resources, are sacrificing everything in the name of liberty and autonomy.
Duffy uses these techniques for a contrasting effect in her poem, Anne Hathaway. The tone of this
poem is not only fantastical but also celebratory of the alleged love between Anne and Shakespeare
and how this contributes to Shakespeare’s creative genius. The bed becomes a metaphor for the
intense romance that the couple apparently shared and how this inspired his literary pursuits. The
bed is described as “a spinning world”. It is dynamic and intoxicating and is linked to the setting of
Shakespeare’s works. Duffy also uses alliteration and euphony to craft a tone of happiness and
admiration, especially in the phrase “living laughing love”. Euphonic sibilance is also used throughout
the poem (shooting stars, kisses, lips). The overall diction of the poem is one of love: spinning,
shooing, dancing. It makes sense as this poem is fundamentally a homage, a work of admiration to
Anne for her role in Shakespeare’s life. The diction and the metaphor all serve to create a tone which
admires the relationship of Anne and Shakespeare.
In his poem, Limbo, which tells the tale of a mother who was compelled by Irish Catholic society to
drown her baby, Heaney uses similar techniques for a completely opposite effect. A particularly
significant technique used is diction. The poem begins almost casually and would have a matter-of-
fact tone if not for the constant sibilance and the “sh” sound, both of which suggest collusion and
secrets and hints that there is something deplorable about the fact that “an infant was netted in at
Ballyshannon”. The first stanza also sets the example of dehumanising diction which the other
stanzas follow. The constant use of diction such as indefinite articles, “one” and “spawning” imply
that the infant is considered to be one of many and of little value, not by its mother clearly, but, the
speaker implies, by the wider society. This in addition to the prominent religious diction (“waded in”,
“Christ’s palm”, “cross”, “fish”) creates a tone which is critical of the institution of Irish Catholicism.
This is furthered by how, in the third stanza, diction such as “hooks” and “tearing” is used, creating
empathy with the mother in her emotional turmoil. Heaney also uses pitiful imagery of the infant as
being “hauled in with the fish” to create a tone which causes the reader to deplore what is being
done to the infant. Lastly, he uses sound devices throughout the last stanza. The long vowel sounds
of “soul”, “far”, “zone” slow down the poem and add to the solemn melancholy of the situation.
Carol Ann Duffy uses similar techniques for similar effect. In Standing Female Nude, the narration of
a model for a painting, she also uses diction to show the dehumanising effects of an institution—the
art world. In the first stanza, the speaker is quite literally reduced to her body parts (belly, nipple,
condemn it. Compare the techniques used to create such tones and the effects achieved in the work
of at least two poets you have studied.
By The45Girl
Seamus Heaney and Carol Ann Duffy both utilise techniques such as diction, imagery and sound
devices to craft tones which either admire and celebrate the subject-matter or deplore and condemn
it and thus elicit similar emotions in the reader.
Seamus Heaney uses symbolism, diction and sound devices to create tones of both admiration and
condemnation. In his poem, Requiem for the Croppies, which celebrates the inspiration for the 1916
Easter Rising, he uses the symbol of barley to represent tenacity and bravery and elicit admiration in
the reader. The last line begins with “and” and this almost slows the poem down, evoking a sense of
both finality and anticipation. He also uses inclusive diction, such as “a people”, “priest…with the
tramp”. This evokes a feeling of solidarity in the reader and creates celebration for the roots of Irish
resistance. The diction of deprivation and lack (“no kitchen…no striking camp), combined with the
clear juxtaposition between the militarily disadvantaged Irish fighters and the British soldiers with
their horses serve to increase admiration for the Irish who, despite their smaller amount of material
resources, are sacrificing everything in the name of liberty and autonomy.
Duffy uses these techniques for a contrasting effect in her poem, Anne Hathaway. The tone of this
poem is not only fantastical but also celebratory of the alleged love between Anne and Shakespeare
and how this contributes to Shakespeare’s creative genius. The bed becomes a metaphor for the
intense romance that the couple apparently shared and how this inspired his literary pursuits. The
bed is described as “a spinning world”. It is dynamic and intoxicating and is linked to the setting of
Shakespeare’s works. Duffy also uses alliteration and euphony to craft a tone of happiness and
admiration, especially in the phrase “living laughing love”. Euphonic sibilance is also used throughout
the poem (shooting stars, kisses, lips). The overall diction of the poem is one of love: spinning,
shooing, dancing. It makes sense as this poem is fundamentally a homage, a work of admiration to
Anne for her role in Shakespeare’s life. The diction and the metaphor all serve to create a tone which
admires the relationship of Anne and Shakespeare.
In his poem, Limbo, which tells the tale of a mother who was compelled by Irish Catholic society to
drown her baby, Heaney uses similar techniques for a completely opposite effect. A particularly
significant technique used is diction. The poem begins almost casually and would have a matter-of-
fact tone if not for the constant sibilance and the “sh” sound, both of which suggest collusion and
secrets and hints that there is something deplorable about the fact that “an infant was netted in at
Ballyshannon”. The first stanza also sets the example of dehumanising diction which the other
stanzas follow. The constant use of diction such as indefinite articles, “one” and “spawning” imply
that the infant is considered to be one of many and of little value, not by its mother clearly, but, the
speaker implies, by the wider society. This in addition to the prominent religious diction (“waded in”,
“Christ’s palm”, “cross”, “fish”) creates a tone which is critical of the institution of Irish Catholicism.
This is furthered by how, in the third stanza, diction such as “hooks” and “tearing” is used, creating
empathy with the mother in her emotional turmoil. Heaney also uses pitiful imagery of the infant as
being “hauled in with the fish” to create a tone which causes the reader to deplore what is being
done to the infant. Lastly, he uses sound devices throughout the last stanza. The long vowel sounds
of “soul”, “far”, “zone” slow down the poem and add to the solemn melancholy of the situation.
Carol Ann Duffy uses similar techniques for similar effect. In Standing Female Nude, the narration of
a model for a painting, she also uses diction to show the dehumanising effects of an institution—the
art world. In the first stanza, the speaker is quite literally reduced to her body parts (belly, nipple,
