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Notes for AQA English Literature Poetry (Power and Conflict)

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Course
English

Institution
GCSE

These notes are a complete summary of everything you have to remember for the English literature AQA exam on comparing poetry from the Power and Conflict cluster, and allowed me to get a grade 9 in the GCSE.

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Uploaded on November 28, 2022
Number of pages 12
Written in 2021/2022
Type Interview
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gcse
aqa
enlgish
power and conflict
notes

Institution
GCSE
Education
GCSE
Course
English
School year 1

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Points War Photographer (Duffy) Remains (Armitage)
Conflict causes Duffy begins by describing an unnamed photographer Memories haunt man more than photographer.
you to change clearly disturbed by experiences forced to relive “in his Dramatic monologue begins in media res with
because of the dark room [where] he is finally alone”. “Darkroom” Armitage stating “On another occasion we get
harrowing where old photos developed, could be symbolic sent out”. Rationalise killing “Looter”- “sent
memories suggesting he is recounting dark events, causing his own out”, order from above, out of his control.
soul to darken, filling reader with uneasiness / making Reader finds extent he wants to get rid og
them question man’s moral purpose- negative tone memories as he needs- “Drink and drugs”… to
created. Also Adverb -“Finally”- haunted by memories- “flush him out”. Verb “flush”- warfare
photo room only place providing solace. Also show he’s connotations- shows how military dialogue
happy- alone, lost faith in humans. Idea of uneasiness haunts him, invades natural speech. Conflict
further second line- iambic metre- juxtaposes trochaic over, inner-conflict isn’t, even when at home,
metre- first line- “Spools of suffering in ordered rows”. safe, can’t escape. Shows effect of PTSD on
Sibilance- emphasises after conflict only left with soldiers, changes them.
“suffering” still attempts to put in “Ordered rows”- makes
Conflict can sense of what he has seen. Also creates image of Begins to feel guilt, unlike WP. FP- creates
leave you graveyard, particularly war cemetery, gravestones in personal sense of regret.
hollow and “rows”- shows how death always on mind- traumatised. “Probably armed, possibly not”-
empty. Repeated line wants to convince himself of first
Duffy uses biblical imagery describing man as a “Priest thought, haunted by 2nd, death was senseless.
preparing to intone a mass”. – Ironic metaphor, “priest”- “His bloody life in my bloody hands”-
connotations of God- in reality he’s recording atrocious “Bloody”- double meaning, blood on his hand
acts of human nature and doing nothing to stop it (much for murder, swearing at his hands, and anger
like the devil), contradicting fundamental teachings of towards himself.
Catholic Church, again making reader question his Allusion to Macbeth, motif of blood,
morality. representing his and wife’s guilt of killing the
Duffy then goes on to say how “All flesh is grass”. king.
-Ambiguous metaphor could be referring to people who
died, returned to earth or could he’s seen so much death Colloquial language used throughout (“legs it
it started to lose meaning. Grass is everywhere; so is up”), alongside vivid imagery gives a realistic
death. Also allude to biblical verse in old testament. portrait of a person haunted by war.
Perhaps, as atheist, Duffy uses this to make reader
question whether God actually exists like photographer,
He is sitting by, just allowing these heinous acts, without
intervening and stopping them. Show after conflict,
everything, including religion leaves you.
Both use
structure to 4 equal length stanzas, portrays meticulous nature of
show effects WP / reflects rigid routine of military. Rigid order
of conflict contrasts with use of enjambment throughout possibly
depicting chaotic reality of conflict and its inevitability.
Cyclical structure- begins with him coming back from a
trip, ends with him going again. Represent WP fate, and
inescapability of conflict. Sudden declarative “Rural
England”, sandwiched between two more convoluted
sentences, in order- show how people of England-
separated from conflict.

, Points Ozymandias (Shelley) London (Blake)
Power can “Sneer of cold command”- Similarly, Blake writes those in higher wealth and
be used in a Alliteration of hard plosive “c” creates sharp, institution abuse their power, don’t help the poor. Uses
very cruel clipped sound, reflecting harsh nature of Ozy. metaphor “every black’ning Church appalls”. Two
way. “Sneer”- ignorance, no respect meanings- not only has Church become blackened by
“King of kings”- further shows narcissism, industrial revolution, Blake could be implying Churches as
tyrannical nature, as only line in poem, an establishment are corrupt, using adjective “black”,
contains an extra syllable, departing from connote it as evil, tarnished, they are not looking after
regular iambic metre, Ozy is forcing himself others the way they should, juxtaposing key teachings of
onto the reader. Biblical reference to Jesus, Jesus. Backed by “appalls” at time appals, meant to
Ozy saw himself as god-like, above everyone become pale, weak. Could suggest Blake is outing his view
else. Shelley was atheist, perhaps criticising that the kind Church helped others is dying, being taken
Christianity. over by corrupt institutions. These ideas channel Blake’s
own opinion, as he agreed with the French Revolution,
conflict necessary to take away power from institutions.
Shown using reference to “blood down palace walls”,
suggests people of London should rebel, to free them from
“manacles” by those who have “chartered” society.

While in Ozy, Shelley uses desert-nature incarnate- which Human power continue forever, always oppress poor.
human has swallowed vain pride of a once great man, “Mind-forged manacles I hear”. People of London owned
power is to show same fate awaits powerful today. by something, perhaps “manacles” show how poor are
ephemeral, “Look on my works, ye mighty and despair” chained to bottom of society, unable to move up hierarchy.
London- shows arrogance, control he commands “Mind forged” suggest imprisonment of people’s minds,
everlasting. reader to admire him. Monosyllabic words, the prevention to think as individualists, Blake against as
apostrophe give line hard-hitting power. Irony Romantic poet.
highlight Ozy stupidity, calls “works” “mighty” “The youthful harlot’s curse blasts the new-born infants
landscape “bare” “nothing remains” shows tear, and blights with plagues the marriage hearse”.
everything mortal, time destroys everything. Miserable image combine 3 elements of life (birth,
“Boundless and bare the lone and level sands marriage, death), he suggests how misery inflicted by
stretch”- alliteration constantly shifting from those in power will envelop poor’s life forever. “Youthful”
‘b’-‘l’-‘s’ mirrors message everything ends, direct criticism of conditions for young, working-class
moves on, like Ozy’s reign. Final line gives women were forced to become prostitutes, was most
powerful conclusion shows power of nature viable means for sustenance -were cursed, if they caught
will continue long after Ozy statue has an STI, passed down to children- terrible conditions sullies
disintegrated. As romantic poet, Shelley even cry of innocent. Oxymoron- “marriage hearse” in
emphasised power of nature, frailty of man. London even the times which are supposed to be the
happiest of your life are tainted.

Both use In Ozy, Shelley begins in 1st person, then turns Written in regimented symmetrical stanzas of quatrains,
structure as to a second-hand account (reported speech), rhyme scheme (AB AB) and use of iambic tetrameter
a way to to make criticisms of those in power, not his creates sense citizens of “London” trapped within
fight against words, that of “traveller”, figure of Pharoah inescapable walls of city / inescapability of power.
those in Ramesses II, allegory for King George, tyrant. However, perhaps his child-like simplicity in structure could
power. Shelley undermines conventions of society, be written in a way to make poem memorable, as Blake
although written in sonnet, does not stick to wrote it as a political protest against tyrants in power.
rules (not fully in iambic pentameter) rebel
against the establishment.

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