Terrible Angels

'Terrible Angels' explores themes of war and how it has just as much a mental affect on the soldiers who fight as a physical one. The power and destruction of war is portrayed, and Abse enlightens the reader on how time does not always bring recovering if the participant has been emotionally scarred.
     The persona talks about his father showing him 'his war medals, / Their pretty coloured ribbons'. This creates an image of pride; the medals are symbols of achievement and possibly victory, and it becomes clear that the war still very much haunts the father and remains a large part of his life (he is still re-telling the stories and showing off his medals when some time has probably passed - he has a child now). The persona's father mentions 'the angels of Mons, / that elite and puissant expedition from God'. Abse's reference to 'Mons' refers to the Battle of Mons, which was the first major battle of the BEF in World War One. The reader is not aware of which side the persona's father fought for in the war, but from this information we can become aware that the war he took part in was World War One. The 'puissant expedition from God' suggests that religion has a large influence over the soliders whilst they were fighting; it was perhaps a comfort in the dark situation of the time, and this links in nicely to 'Faith Healing' by Philip Larkin. The 'angels' are described as causing 'horses / to bolt and flocks of meat-snatching birds to rise'. 'At this point in the poem, the reader is prompted to question what exactly the angels symbolise; is the 'invisible presence' symbolic of war itself, the nature of war, or religion and how it brought a strong comfort to the soliders to believe that there was something above them which was willing them on, protecting them and aiding them in destroying the enemy. The latter interpretation is ironic as the soliders are looking for protection against death by wishing death upon the enemy. This could be why the angels are described as 'Terrible' - they are symbolic of the wish that you will survive whilst at the same time obtaining the power to defeat (kill) the opposition.
     'But war coarsens (he said) even genteel angels.' - I found this sentence confusing, but it could be interpreted as depicitng the nature of warfare and how it turned even angels into objects of vulgar unpleasantness. Even the place in which the soldiers seeked comfort (religion, God) became an output for their violent wishes and pleads. 'When they spoke it was the silence of gas, amen; / when they sang it was shrapnel striking helmets'; again, this presents the way in which the participants of war had become wishful for evil things, that their protection and hope relied on the enemy's destruction and death. The horrendous elements of war appeared to bring joy to the soliders, and a sense of complete desperation and madness is created.
     The angels are described as 'cold', 'bold and bloodthirsty' and 'thrilled' by the haunting 'screams' coming from the soldiers on the battlefield. This presents the angles as extremeley ironic; they appear as evil elements of perception and imagination, yet are described as 'angels' which opposes this. This could portray the way in which the destruction and death of the enemy, which in any other situation would be horrific and shocking, became a comfort throughout war because it was needed to maintain, or atleast pro-long, a soldier's own life. The angels are seen by the persona's father as 'true facsimilies of men', suggesting a sense of madness and also depicting how much the soldiers relied on their faith and God to get them through the war.
     The final stanza, although only two lines long and appearing as an after-thought almost due to the brackets which Abse uses to encase it, is extremely powerful. '(My father, invalided home, was told / he knew more about angels than was healthy.)' These final lines could be interpreted in many different ways, but in my opinion they suggest the haunting nature of war; shell-shock and memories of friends being blown up in front of their eyes is something which scarred many soldiers for life after the First World War. The event became an obsession for those who partook in it and those who observed it at home through the media, and for the persona's father it seems that he is too aware of the war, too affected by it, to ever 'let it go'. Abse appears to be presenting the harsh affect of war; it is an extremely powerful and destructive event, and Abse's opinion on it does not seem to be very positive. This could be linked to Larkin's 'MCMXIV', who also appeared to have a negative view of war.
     There is no rhyme scheme to this poem, and the structure varies from two stanzas of seven lines each to a final stanza of just two lines. This irregularity slightly echos the form of a conversation, which effectively presents the scene of the persona's father telling him stories.

A Figure of 8

This poem follows the daily routine of a young child in education who has begun rebelling against the view of the world that he has been taught in school. The title could have multiple meanings: the child (persona) in the poem could be eight years old. It is also an infinity sign, and could present the idea of going round in circles; life is full of monotomy and routine. This could be relevant to the persona who appears to have a daily routine which primarily involved education.
     The school in which the child is educated is referred to as 'Mr Theophilus's jail', suggesting that he feels confined by his learning, and that it is simply society's expectation that he be educated. The classroom is described as being 'sun-striped', possibly symbolising the bars of a prison cell. Whilst in school 'the boy half listens to a story / of royalty-loving Christopher Robin.' This is a reference to a character from the popular childs' book 'Winnie the Pooh', suggesting that the persona is at a young age. These lines also depict the way in which 'Mr Theophilus' teaches the child patriotic, innocent lessons which deflect from the reality of the outside world. The fact that the persona 'half listens' could be a portrayal of how, no matter what we are taught in school, half of our minds will always work independantly and we will desire an obtention of knowledge through our own means. A comical tone is created through Abse's reference to 'Fatty Jones'.
     The second stanza shows the persona to be 'free, at last', portraying the extent of confinement which his school provides. Abse's positioning of a comma between the words 'free' and 'at last' exaggerates the persona's sheer desperation to get out of the school, which he sees as a 'jail'. Abse's very visual description of the child's actions as he enters the outside world also emphasise his happiness; he appears to feel elated as 'he jet-roars out of school' and 'soars between the Hs / of the Millennium Stadium'. Abse presents the division between childhood and adulthood as he talks of the boy metaphorically 'fl[ying] to Africa / to see naked women'. This portrays the child's mind fantasising about adult themes which are probably inappropriate for his age, elements which have been hidden from him at school. It appears that he is independantly crossing the boundary between childhood and adulthood, and grasping at the idea of being grown-up (as most children of that age do). This more adult tone is sharply and comically shifted back to one of immaturity and childhood in the final line of the second stanza: 'farts H2Ss.'
     The humorous, childlike tone of the poem changes in the third stanza. This stanza is short and obtains a dramatic edge, as the reader is told that 'someone has bombed the park.' This could be a reflection of how the persona's naivety and childhood are failing; he is becoming more aware of the adult world and the disasters which occur (all of which have been hidden from him by the teacher's innocent stories). This idea is continued through the first two lines of stanza four as Abse describes how 'Both the swings are on fire, / the empty see-saw is charred'. This destruction of childhood objects appears to suggest his naivety is being destroyed - he is no longer protected from reality. 'The wooden horses' which are 'running wild' could symbolise the persona himself, and how with age children in general become harder to control (they begin to think for themselves and realise what is going on outside of the textbook).
     The childlike tone is recovered slightly as Abse makes reference to 'the enemy' who 'is a brute' - this paints an image of imaginary games, as does the claim that '(a sorcerer has cast his spell)'. The boy then 'Safely ... comes home to base', creating a sense of protection and suggesting that, at home, he is hidden from the outside world, safe from the harm of reality. The final stanza shows the persona 'chalk[ing] across the garden shed / FUCK WINNIE THE POOH.' This strongly symbolises a rebellion against the stereotypes and conformities of society, and the naivety which the child appears to be sick of. The final stanza acts as a concluding, humorous revelation that the persona, and children in general, cannot be protected forever and are looking for ways out of the monotonous routine which they are trapped inside - but for a certain amount of time at least, they must be drawn back in their 'figure of 8'.

A Wall

'A Wall' is a short poem which presents the idea that we take many things for granted, and leave a lot of things unrecognised and unappreciated. It appears that Abse is enlightening the reader on how much we miss and do not notice, and how everything has a purpose and an identity.

     In the first stanza, Abse tells of how 'You won't find [the wall] named in any guidebook', highlighting the fact that this ordinary piece of brickwork goes unnoticed and unappreciated daily. However, he describes how 'No other walls are adjacent to it', depicting the fact that everything and everyone is unique and obtains their own identity. The wall 'Seemingly unremarkable', suggesting that there is more to things than meets the eye, and portraying how remarkability is masked by appearance. Abse describes the wall in question as being made up of 'Stones of different sizes, different greys' - this imagery is dull and unappealing, emphasising how appearance can be misleading, and possibly how people ignore things/other people due to their appearance.

     The second and final stanza shows the narrator warning the reader not to 'say this wall is useless, that the grass / On the shadow side is much like the other'. This advice seems to suggest that everything and everyone has an individual purpose and is unique, obtaining their own identity and having the ability to help others. The reader is given a list of the ways in which this particular wall aids and protects aspects of nature and the animal kingdom, such as the 'huddling sheep in the slanting rainfall'.

     This short poem presents a powerful message; Abse appears to be portraying how even the things that we do not appreciate and take for granted have a use, and we need to consider the beauty of everything, as beauty lies deeper than the surface which our eyes see. Everything is created with the purpose of bringing a new light to life in individual ways, and Abse is drawn to the wall because it is genuine.

The Death of Aunt Alice

This poem tells the tale of the narrator visiting the funeral of a lady named Aunt Alice, who is shown to be dramatic, eccentric, exaggerated and comically pessimistic. The poem explores themes of death, fate, family and irony. Abse creates a casual, slightly sarcastic tone, and this contrasts intriguingly with the underlying tones of death. The overall effect of the poem is a comical one, although the humour is dark and presents the serious message that death awaits us all, whether it be expected or unexpected.
     The first stanza presents Aunt Alice's funeral as being extremely ironic. It was 'orderly' and 'correct', contrasting with the 'high catastrophe' which she most 'relished'. The reader sees straight away that Aunt Alice was eccentric, and that the funeral which she received did not suit her. Her personality deserved an 'opera-ending'; the ending to her life should have been more extravagant to match the life she lived.
     It becomes obvious by the end of the second stanza that the narrator knew Aunt Alice very well, and was often present when she comically and ironically brought up her pessimistic views. 'You talked of typhoid when we sat to eat; / Fords on the M4, mangled, upside down, / just when we were going for a spin'. These observations made by Aunt Alice are ironic due to her bringing them up at the worst possible moments. They are also darkly humorous, but present the underlying message that death waits around every corner, and many of the daily events that we embark on without a thought (such as sitting down to eat or going for a drive) are possible passages to our deaths. It appears that Abse is presenting death as an unpredictable, often unexpected element, through the voice of Aunt Alice.
     'Such disguises and such transformations!' - this beginning line of stanza three could symbolise how we see everything as being beautiful and positive when we cover our eyes and minds from reality, but everything is not as it seems. By using an exclamation mark, Abse effectively makes the line sound sarcastic and comical. The narrator goes on to tell of how, to Aunt Alice, 'Even trees were but factories for coffins' - did Aunt Alice's character see the worst in everything, or did she just see the truth? Even things associated with beauty, such as 'roses', were seen through Alice's eyes as 'decoys to rip boys' eyes with thorns'. The fact that she 'relished on high catastrophe'  is emphasised through the narrator's observation of Alice's friends: 'none to bore you by dying naturally.' This is comical and obtains a slight tone of sarcasm. The word ‘SPECTACULAR’ is notably associated with commonness, similarly to ‘Fords’, and this emphasises the casual tone of the poem and possibly depicts the way in which Alice spoke of death in a very matter-of-fact manner - gore did not appear to phase her.

     In stanza four, the narrator goes on to talk of Alice's friends, naming them as 'A', 'B' and 'C'. By presenting a lack of identity and not using names, it could be argued that Abse is suggesting a lack of factuality within Aunt Alice's observations (maybe things aren't as pessimistic as she perceives?). This could also be interpreted as everyone is but a letter, and the same fate will eventually present itself to us all - therefore identity is somewhat meaningless. This stanza is highly comical, and Abse creates a tone of dark humour: 'C., so witty, so feminine, 'Pity / she ended up in a concrete mixer.'
     The tone shifts in the final stanza to something much less humerous and more sad: 'But now, never again, Alice, will you utter / gory admonitions'. By presenting 'tall stories' as Aunt Alice's 'eternity', Abse could possibly be implying that we must not focus on the unpleasant details and possible realities of life, or it will become all you are, all you talk about. It could be argued that he is suggesting it is better to enjoy life and ignore the possible paths to death, although they do very much exist in around every corner.
     The structure of this poem consists of five stanzas with six lines each. The structure is clear and ordered, echoing the fashion of the funeral. There is no rhyme scheme used, and this could depict Abse's view that death is unpredictable and unknown. The overall tone of the poem is somewhat casual with notes of sarcasm which contrast with the underlying theme of death and the many ways in which it looms over us.
     This poem could be linked to many of Larkin's poems as he frequently discusses death, but one that stood out to me as presenting a very clear link is 'Ambulances', which symbolises the inevitability of death and the common fear that it is just around the corner for us all.

Two Photographs

'Two Photographs' by Dannie Abse is a poem which explores the passing of time and how it erodes memory. It investigates themes of old-age, identity, time and memory, and Abse touches on how the past remains (or does not remain) in the present. Two photographs of Abse's grandmothers, Doris and Annabella, are used to stimulate the content of the poem.
     A description of each grandmother is presented in the first stanza. Annabella appears as 'slim', 'vulnerable' and 'Pretty', contrasting completeley with Doris who is 'portly', formidable' and 'handsome'. The reader sees straight away that the two women are opposites, possibly explaining Abse's later statement that he 'do[es] not think they liked each other.' This contrast is also highlighted through how the two invidividuals dress; 'Annabella wears a demure black frock with an amber / brooch' whereas Doris is dressed in 'a lacy black gown with a string of pearls.' This description presents Annabella as reserved and modest, possibly shy, whereas the 'lace' of Doris' dress holds connotations of seduction. The fact that our image of each grandmother is built up purely on appearance could portray the persona's disintegrating memory and how he can only conjure up a memory of his relatives based on the photographs before him.
     The separation of the first and second stanza seems odd, as the opening line of the second stanza is carrying on directly from the final line of the first. This could be a depiction of the division between the two women, emphasising the distance between them having any similarities. Abse goes on to state the location and date of ech photograph; each was taken in Wales, one in 'Ystalyfera' and the other in 'Bridgend' - we are not enlightened as to which grandmother lives where, further suggesting a lack of memory concerning details of the ladies. The final line of the second stanza again focuses on the dissimilarity of the grandmothers by making a reference to the familiar saying 'chalk and cheese': 'Both were told to say, 'Cheese'; one, defiant, said 'Chalk!'' Again we are not told which woman was 'defiant', and Abse leaves it up to the reader's individual judgement. Based on the descriptions previously given I am swayed to thinking that it was Doris who 'said 'Chalk!'' due to her appearing slightly more 'out-there' and Annabella being reserved and 'vulnerable'. However, this presents the question of whether personality matches appearance - it could be argued that Abse did not suggest who made this outburst to prompt the reader to consider this, and also to portray his lack of rememberance.
     The third stanza shows yet more contrasts between the two women, this time focusing on their characteristics and personality traits instead of appearance. Doris 'Ate pork!' - the shock depicted through the exclamation mark is due to followers of the Jewish faith being forbidden to eat pork as it was seen as 'unclean meat'. Dannie Abse was Jewish, as was his parents, and so his grandmother Doris most probably was too; this presents her as slightly rebellious and not willing to conform. Abse tells of how Annabella 'told Doris she was damned / indecorous', suggesting that she did not agree with her 'improper' ways and supporting Abse's opinion that they did not like each other.
     A sense of rivalry and competition between the grandmothers is depicted in the fourth stanza as the persona recalls a dream he had which presented the two women standing 'back to back, / not for the commencement of a duel / but to see who was taller!' From this moment onwards the tone of the poem appears to shift from being fairly light-hearted to sad and depressing. A stereotypical image of 'grandmothers' is created through Abse's description of 'buns of grey hair, of withered rose', and he tells of how this semblance now seems 'illusory, fugitive', as if his memory of the two ladies is dissolving rapidly and he cannot stop it. '(sieved through leaky curtains) / and disappears when and where that sunbeam goes' - these two lines appear to suggest how memories can disappear without warning, how the disintegration of recollection is unpredicatable and cannot be controlled. The words 'sieved' and 'leaky' could suggest time filtering the persona's memories and, as details get lost along the way, eventually it is only the 'two photographs' which can remind him of his grandmothers.
     The final stanza gives a depressing perception of death, and it could be argued that by questioning 'Of two old ladies once uxoriously loved, / what's survived?', Abse is suggesting that once you die you no longer make an impression on the people that once loved you, and eventually everyone gets forgotten. This view is pessimistic and sad, especially because the two sentimental photographs (the only remains of the women) show only the surface and present no depth concerning their personalities. In the final two lines it appears the persona is accepting the idea that the same thing will eventually happen to him too, with his 'children' and his 'children's grandchildren' forgetting about him as time passes until eventually it seems as if he 'never lived.'
     It could be argued that the irregular rhyme scheme echos the irregularity of memory and how the course of time can create an uneven rhythm of memory and recollection. The structure of the poem is also irregular - there is a different amount of lines in each stanza - and this gives it a strange appearance, looking unlike standard poems. This could possibly be a portrayal of the decievement of appearance and photography.

Imitations

'Imitations', like 'Sons', explores the relationship between father and son and the similarities between the two individuals. The poem appears to tackle themes of passing time, innocence, finding yourself and identity. The title could suggest the persona's son immitating him, or how teenagers in general appear to immitate other people when young and find it hard to find themselves individually.
     In the first stanza, Abse uses a caesura to separate 'my son and I' from 'The other side of the glass' - this could symbolise the division between the persona and his son or, more generally, old and young, and the reference to different sides of 'the glass' could also present this idea. Abse uses caesuras frequently within this poem, possibly to reinforce this interpretation.
     Abse then uses an odd reference to 'snowflakes' which fall during a 'surprised April.' It is strange and unexpected to experience snow during springtime - this could be interpreted as a presentation of the idea that the world is unexpected and forever changing, just like an adolescent. It could symbolise the way life throws surprises at you. This interpretation links effectively with Larkin's 'First Sight' and especially the phrase within the poem: 'Earth's immeasurable surprise'. The 'whitewash'  of snow could also symbolise innocence and purity, and this could suggest that the persona's son - at the age of 16 - is unspoilt, and is yet to be corrupted by things that come with maturity and the passing of time. The snow also creates an image of something blank and unmarked, as if the son in the poem has not found who he is yet due to his youth, and so 'imitates' what he sees around him.
     The persona describes his son as 'an approximate man.' This suggests that he has nearly matured into a 'man' but is not quite there yet; this could be a presentation of his son grasping at maturity but not fully obtaining it (similar to 'Sons'), and how he is acting older than he is in the way that teenagers do when really, underneath this 'imitation', he is still a child. The persona also describes his son as 'my chameleon, / my soft diamond, my deciduous evergreen.' A fond, loving tone is created here and the persona appears as if he relies on his son - this is the reverse of normality, as it is usually the son who relies on their father. The persona's descriptions also hold connotations of disguise, and this could possibly be a portrayal of the son masking himself with a faked maturity when really, underneath this pretence that most teenagers undertake, the persona knows what he is really like.
     A comical tone of disgust is created in the second stanza as the persona talks about his son listening to 'pop forgeries of music'. This could depict the persona looking back nostagically upon the music of his era that he used to love, and comparing it with light-hearted distaste to the modern music which his son listens to. This interpretation creates a sense of division between young and old, father and son. However, this phrase could be taken literally when looking at the next phrase: '- how hard it is to know'; the father could be discussing his son's illegal downloading of music and how he is unaware of the extent. This could be linked to how he doesn't always know what his son is doing - their is a sense of concealment and mystery regarding the life of his son. This point is carried on as he presents the possibility that his son could be 'dream[ing] of some school Juliet I don't know.'
     Towards the end of the second stanza 'a blur of white blossom, whiter snow' is said to be 'gusting suddenly, despite a sky half blue'. This could again suggest the unpredictability of nature and how time is passing at a fast rate; everything is constantly changing and we, as humankind, have a lack of control. The presentation of a 'sky half blue' could be similiar to a 'cup half full' - it is possible that Abse is depicting the division between optimism and pessimism, or how things may seem good but there is always a dark cloud on the horizon. The 'blur of ... snow' again presents the idea of a blank slate and an innocence which remains until age and time corrupt the youthful.
     The final stanza obtains a nostalgic tone as the persona tells of how he is 'elsewhere and the age my cool son is, / my father alive again (I, his duplicate). He appears to be remembering his past in relation to his son's present, and considering the fact that his son is alike to him in the same way that he was alike to his own father. He describes 'his high breath, my low breath, sticking to the glass', and this creates a touching image of tall and short, old and young - father and son.
     '... two white butterflies stumble, held each / to each, as if by elastic, and pass.' - it could be argued that the two butterflies symbolise the relationship between father and son, and how no matter what happens it will always be a pure relationship that is unbreakable. The fact that Abse uses 'elastic' to describe the bond between them could suggest that despite the persona's son attempting to move away and find himself on his own, he will always be brought back to his father due to family/blood relations.

Sons

This poem explores the relationship between father and son. It also follows themes of growing up, youth and adolescence, the passing of time and the past itself. The persona in the poem appears to be looking back on his youth with perspective, and considering how alike his son is to his own adolescent self. The similarities between himself and his son make his remember things about himself when he was his son's age.
     The first line of the first stanza uses sibilance and alliteration; 'Sarcastic sons slam front doors.' This creates an almost jokey tone as if the persona finds his son's 'mood swings' slightly amusing. Abse goes on to describe how his son's actions make him think of 'Cardiff outskirts where, once, captured acres played / at being small tamed gardens...' Here we see the persona remembering and reminiscing his own youth, and this memory suggests a childlike, imaginitive game where he possibly was pretending to own a house and garden of his own (faked maturity?). 'Now my son is like that, altering every day'; here the reader gets the persona's direct opinion that his son is very much like his adolescent self. We also gather the impression that his son is forever changing, physically and mentally, maturing and growing with the passing of time. This presents the idea that nothing stays the same, just as the persona in Abse's poem is looking back on his youthful self as an almost seperate indiviual to his current person.
     In the second stanza, the persona describes himself as being alike to 'those new semis that seem ashamed', as well as his son. This seems an odd comparison to make, and could possibly be seen to suggest a sense of feeling out of place, standing out in an area that makes him feel as if he does not belong. This interpretation is strengthened in the following stanza in which Abse makes a reference to 'London', where his son is currently slamming a door, and then to 'Cardiff', Abse's hometown. This creates a sense of discomfort and unfamiliarity, as if he sticks out like a 'new semi' in London due to his cultural identity.
     'At the frontier of Nowhere order and chaos clash': this could be a presentation of adolescence and a wish to 'find yourself' when you're young. An emphatic, understanding tone is created as the persona questions 'who's not lived at the frontier of Nowhere' - it appears that the persona is acknowledging things in his son that he has already experienced for himself. By giving it a capital 'N' Abse presents 'Nowhere' as a place, giving the impression that it is somewhere everyone has to visit before eventually finding 'Somewhere'. Abse's juxtaposition of the two opposites 'prim and brash' at the end of this stanza could portray a teenager's changing emotions and altering moods. It could also suggest a sense of wanting to be independant and looked-after at the same time, and wanting to be mature but in reality still being young. The question mark used after this juxtaposition could depict the uncertainty of being an adolescent.
     The reader experiences a philosophical shift at the beginning of stanza four which is very much alike to Larkin: 'Strange a London door should slam / and I think thus, of Cardiff evenings'. We are again reminded of how the persona's son takes him back to his own past, prompting him, almost forcing him, to remember his youth. A childlike, imaginative game is again presented in the fourth stanza as Abse describes a Cardiff-based memory of 'ruins where ghosts abide.' He also uses another comparison, this time of 'Anglo' and 'Welsh' - 'half town, half countryside.' This use of yet more opposites could be a reference to the persona's son not knowing how he is yet, as if to himself he feels 'nameless'. The word 'Awkward' creates a further sense of dis-belonging and not fitting in, both concepts which the majority of teenagers struggle with.
     The fifth stanza sees the persona exclaim: 'Son, you are like that and I / love you for it.' These lines powerfully enforce the understanding, emphatic tone of the poem, presenting a good relationship between father and son. 'In adult rooms / the hesitant sense of not belonging quite'; this could be a presentation of how his son is trying to clutch at maturity but does not obtain it yet, and how he is 'hesitant' in accepting he is still just a child, trying desperately to act older than his age.
     The last three lines of this final stanza appear to be a warning from the persona to his son: 'Too soon maturity will switch off your night, / thrust fake electric roots, the nameless becoming / wrongly named and your savage darkness bright.' The persona is looking back on his own past with perspective and possibly seeings his own mistakes/regrets be relived through his son. '...the nameless becoming wrongly named' could suggest that his son is 'getting in with the wrong crowd', or being led down the wrong path. This ending is slightly pessimistic as it seems to be stating that the son's fate is doomed to follow that of his father. However, the final two words - 'darkness bright' - are oxymorons, and this could be a final representation of how, although they are very similar, the persona and his son will always remain different people, and could therefore have very different fates.
     This poem links nicely with many of Larkin's poems: these include 'Dockery and Son', 'Love Songs In Age' and 'Reference Back'.