Simon Armitage – ‘Give’ LO: Can I consider different meanings or interpretations of a poem? LO: Can I suggest reasons for why Armitage uses a particular structure and rhythm? Simon Armitage discusses 'Give' Key terms: Iambic tetrameter Religious imagery Double/hidden meanings Idioms

Useful analytical langauge for this poem… Analytical verb Modal/modifier Noun Useful analytical langauge for this poem… hint clue clearly possibly could might perhaps signal conveys almost portrays allusion may suggests implies reference signifies reveals highlights emphasises evokes relates Q: Which of these words did Armitage use when analysing his poem?

Maths in English? Prefixes used in maths… Below is a list of some prefixes (beginnings of words) used in maths for numbers 1-5. Where have you seen these prefixes at the beginning of ‘maths words’? Uni, mono, or solo: one Bi or duo: two  Tri: three Tetra, quad: four Penta, quint, or quin: five We’ll be focusing on ‘tri’, ‘tetra’ and ‘penta’ today - ‘tetra’ in particular - and will learn how these prefixes are used to describe rhythm in language – specifically poetry.

Some iambic metres in poetry Iambic trimeter (3 feet) (Da DUM Da DUM Da DUM) Iambic tetrameter (4 feet) (Da DUM Da DUM Da DUM Da DUM) Iambic pentameter (5 feet) (Da DUM Da DUM Da DUM Da DUM Da DUM) Each pair of syllables is called an iamb. An iamb is a pair of syllables (or ‘metric foot’) with the first ‘unstressed’ and the second ‘stressed’ (emphasised), as in Da DUM.

Iambic trimeter (3 feet) We romped until the pans Slid from the kitchen shelf; My mother’s countenance Could not unfrown itself. Iambic tetrameter (4 feet) I think that I shall never see A poem as lovely as a tree. Iambic pentameter (5 feet) I love to hear her speak, yet well I know. That music hath a far more pleasing sound.

Trimeter? Tetrameter? Pentameter? The kind old face, the egg-shaped head, The tie, discreetly loud, The loosely fitting shooting clothes, A closely fitting shroud. From ‘The Hunchback in the Park’ Of all the public places, dear to make a scene, I’ve chosen here. Of all the doorways in the world to choose to sleep, I’ve chosen yours. I’m on the street, under the stars. From ‘Give’ That’s my last Duchess painted on the wall, Looking as if she were alive. I call That piece a wonder, now; Fra Pandolf’s hands Worked busily a day, and there she stands. From ‘My Last Duchess’ Trimeter? Tetrameter? Pentameter?

WARNING! Some of these signs contain bad language! In 2013, the artist Andreas Serrano made a work of art called Sign of the Times by collecting 200 signs from homeless people in New York City, usually paying $20 for each sign. Which signs stand out to you? What do they tell you about homeless people? Do they challenge any of your preconceptions about the homeless? Sign of the Times - Andreas Serrano WARNING! Some of these signs contain bad language!

Of all the public places, dear to make a scene, I’ve chosen here. Give Of all the public places, dear to make a scene, I’ve chosen here. Of all the doorways in the world to choose to sleep, I’ve chosen yours. I’m on the street, under the stars. For coppers I can dance or sing. For silver - swallow swords, eat fire. For gold - escape from locks and chains. It’s not as if I’m holding out for frankincense or myrrh, just change. You give me tea. That’s big of you. I’m on my knees. I beg of you. Simon Armitage

Double meanings A nativity scene Idioms: “make a scene” – Make a huge show/embarrassment. “Don’t make a scene in front of my friends.” “holding out” – Expecting or hoping for something. “I’m holding out for a win next week.” “on my knees” – At a low point. “I’ve run out of money and I’m on my knees.”

Religious imagery

‘Give’: A poem about someone desperate for recognition, or love?

Of all the public places, dear to make a scene, I’ve chosen here. Give Of all the public places, dear to make a scene, I’ve chosen here. Of all the doorways in the world to choose to sleep, I’ve chosen yours. I’m on the street, under the stars. For coppers I can dance or sing. For silver - swallow swords, eat fire. For gold - escape from locks and chains. It’s not as if I’m holding out for frankincense or myrrh, just change. You give me tea. That’s big of you. I’m on my knees. I beg of you. Simon Armitage Pyrrhic: two short ‘unstressed’ syllables, often giving a monotonous effect. Does the rhythm here reflect the word spoken, or what the speaker reveals to us at this point? Spondee: two long, ‘stressed’ syllables Armitage describes this part of the poem as a ‘neon light moment’. Why the change in rhythm here? Revisiting rhythm…