Examine the use of the dramatic monologue Essay Examine the use of the dramatic monologue in the poetry of Carol Ann Duffy Unlike the soliloquy, the dramatic monologue speaks directly to the reader and voices a single character or personas thoughts, this offers a better understanding of the ideas and message the poet is trying to express. The dramatic monologue is used to form a bond or relationship between the speaker and the reader, taking the poem to a personal level, and in turn more effective in conveying a certain message. This essay will explore the way the dramatic monologue is used in both Demeter and Mrs. Midas by Carol Ann Duffy, taken from her collection of poems The Worlds Wife. The phrase, Behind every great man there is said to be a great woman comes to mind when reading The Worlds Wife. The title of this collection reveals much about its content and Duffys intentions. The Worlds Wife places emphasis on the wife, giving the woman the centre stage and allowing her the chance to speak through the medium of the dramatic monologue. From Mrs. Midas to Mrs. Beast, Duffy explores the thoughts and feelings of the women behind famous men, be it through history or through myth or fairytale, Duffy makes it very clear that every woman has a tale to tell. Mrs. Midas tells the untold story of the well-known Greek myth King Midas, who is miraculously, granted the wish of turning everything he touches into gold. As with all the poems in The Worlds Wife, the title is a clear giveaway of what the poem is about to entail, and this is no different. Mrs. Midas, the wife of King Midas is the persona of this particular monologue and here she voices her thoughts on her husbands newfound ability. The kitchen filled with the smell of itself. This personification continues through the first stanza of Mrs. Midas. Its steamy breath and wiped the others glass like a brow, personifies the kitchen Mrs. Midas is in to help you relate to the familiar homely setting that surrounds her. The effect of this is that you feel how she feels at that time, safe, happy and without a care in the world. The lines begun to unwind and the imagery of her relaxing to a glass of wine enforce this feeling. The use of dramatic monologue helps to dramatise the final line of the stanza, He was standing under the pear tree snapping a twig, the descriptive lines before this contrasts with the abrupt change of topic, this prepares you for the turning point in her story, where the twist to her tale begins. Within the next few stanzas Mrs. Midass tone dramatically changes from feeling relaxed and happy to shocked and horrified at what her husband has done. He came into the house. The doorknobs gleamed. He drew the blinds. The short sentences evoke a feeling of everything happening too fast, supporting the shocked and horrified mood, which continues to the next stanzas. The first point of the poem in which you hear of her husbands reaction is where he laughs in reply to her question, What in the name of God is going on? Duffy has intended his initial reaction to be laughter instead of explaining himself to portray the stereotypical man that doesnt show consideration or take the situation or his wife seriously when she clearly needs it. The poem is set out in a structure of eleven stanzas consisting of six lines where only two exceptions of this rule is made. He toyed with his spoon, then mine, then with the knives, the forks. The word forks takes a line by itself to help you imagine the way in which Mrs. Midas is speaking to you, she is clearly still in a state of shock and this new line marks a short pause in her speech where she is struggling to stay calm. You see, we were passionate then, where then is on a line by itself it is as though Mrs. Midas has taken a short moment to imagine those happy times when they were passionate, appreciating them as those days are now long gone. I locked the cat in the cellar, The toilet I didnt mind. Like in much of her work, Duffy implements short spouts of humour throughout the poem, the effect of this is that the colloquial language engages the reader and helps to support the idea that Mrs. Midas is actually voicing her tale to the reader personally. Mrs. Midas speaks bitterly about the fatal consequences her husband has bought to their marriage, Separate beds. In fact, I put a chair against my door, near petrified, she also reminisces of the days when they were happy and uses words such as unwrapping which connotes the excitement she once felt. Contrasting the good times they had together with the breakdowns of their marriage they are experiencing now highlights the selfishness and lack of thought her husband had for their relationship. The poem ends with Mrs. Midas being forced to separate from her husband. He is left secluded on his own in the wilds away from people he can potentially harm. The irony of this is that he had hoped the power of the golden touch would win him prosperity, popularity and love and respect by all, and yet it has forced him to live alone for the rest of his life, unable to ever be intimate with his wife again, and unable to enjoy the things he had hoped money would buy him. but the lack of thought for me. Pure selfishness.
The Problems with Farm Subsidies Subsidies are payments, economic concessions, or privileges given by the government to favor businesses or consumers. In the 1930s, subsidies were designed to favor agriculture. John Steinbeck expressed his dislike of the farm subsidy system of the United States in his book, The Grapes of Wrath. In that book, the government gave money to farms so that they would grow and sell a certain amount of crops. As a result, Steinbeck argued, many people starved unnecessarily. Steinbeck examined farm subsidies from a personal level, showing how they hurt the common man. Subsidies have a variety of other problems, both on the micro and macro level, that should not be ignored. Despite their benefits, farm subsidies are an inefficient and dysfunctional part of our economic system. The problems of the American farmer arose in the 1920s, and various methods were introduced to help solve them. The United States still disagrees on how to solve the continuing problem of agricultural overproduction. In 1916, the number of people living on farms was at its maximum at 32,530,000. Most of these farms were relatively small (Reische 51). Technological advances in the 1920's brought a variety of effects. The use of machinery increased productivity while reducing the need for as many farm laborers. The industrial boom of the 1920s drew many workers off the farm and into the cities. Machinery, while increasing productivity, was very expensive. Demand for food, though, stayed relatively constant (Long 85). As a result of this, food prices went down. The small farmer was no longer able to compete, lacking the capital to buy productive machinery. Small farms lost their practicality, and many farmers were forced to consolidate to compete. Fewer, larger farms resulted (Reische 51). During the Depression, unemployment grew while income shrank. "An extended drought had aggravated the farm problem during the 1930s (Reische 52)." Congress, to counter this, passed price support legislation to assure a profit to the farmers. The Soil Conservation and Domestic Allotment Act of 1936 allowed the government to limit acreage use for certain soil-depleting crops. The Agricultural Marketing Agreement Act of 1937 allowed the government to set the minimum price and amount sold of a good at the market. The Agricultural Adjustment Act of 1938, farmers were given price supports for not growing crops. These allowed farmers to mechanize, which was necessary because of the scarcity of farm labor during World War II (Reische 52). During World War II, demand for food increased, and farmers enjoyed a period of general prosperity (Reische 52).
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