SOUND DEVICES
FIRST STANZA
"Beloved sweetheart bastard."
The technique used is long vowels. The long vowels of the three words portray Havisham's deep sense of both love and hate towards her ex-fiance. She is not just cursing someone as a "bastard" just out of spite, but truly hates him for leaving her at the altar. However, she also calls him her "beloved sweetheart", an expression of endearment, because she loved him and perhaps still does. The long vowels supports the strong contrast of the oxymoron.
"day... Prayed"
This masculine rhyme demonstrates that Havisham prayed every day, without missing a day, for her ex-fiance to die. It embodies the intensity and fervency of her desire, how she prayed ardently for it to come true.
The technique used is long vowels. The long vowels of the three words portray Havisham's deep sense of both love and hate towards her ex-fiance. She is not just cursing someone as a "bastard" just out of spite, but truly hates him for leaving her at the altar. However, she also calls him her "beloved sweetheart", an expression of endearment, because she loved him and perhaps still does. The long vowels supports the strong contrast of the oxymoron.
"day... Prayed"
This masculine rhyme demonstrates that Havisham prayed every day, without missing a day, for her ex-fiance to die. It embodies the intensity and fervency of her desire, how she prayed ardently for it to come true.
"day", "dead", "dark"
This is a utilization of the technique alliteration. Duffy utilizes this technique to imply that almost all of Havisham's days were dark and dreary as she obsessed with wishing her ex-fiance to be dead. Because these words are single-syllable words, the forcefulness of the single-syllables enhance the dark mood of the poem.
"Beloved", "bastard", "day", "dead", "Prayed", "dark", "pebbles"
Duffy implemented these specific words just in the first stanza to create a strong, powerful ambiance that lasts throughout the whole poem. This technique is called plosives. Each of these words hold heavy connotations that show that Havisham has strong feelings of vengeance towards her ex-fiance. For example, "dead" and "dark" are two words that instill a negative, ominous atmosphere throughout the poem. Along with the heavy connotations of the words, the exploding first letters of the words, which is the technique of plosives, adds onto this effect and constructs an image of Havisham spitting out the words in anger and tenacity.
This is a utilization of the technique alliteration. Duffy utilizes this technique to imply that almost all of Havisham's days were dark and dreary as she obsessed with wishing her ex-fiance to be dead. Because these words are single-syllable words, the forcefulness of the single-syllables enhance the dark mood of the poem.
"Beloved", "bastard", "day", "dead", "Prayed", "dark", "pebbles"
Duffy implemented these specific words just in the first stanza to create a strong, powerful ambiance that lasts throughout the whole poem. This technique is called plosives. Each of these words hold heavy connotations that show that Havisham has strong feelings of vengeance towards her ex-fiance. For example, "dead" and "dark" are two words that instill a negative, ominous atmosphere throughout the poem. Along with the heavy connotations of the words, the exploding first letters of the words, which is the technique of plosives, adds onto this effect and constructs an image of Havisham spitting out the words in anger and tenacity.
SECOND STANZA
"Spinster", "stink", "slewed"
These three words are linked together by the technique sibilance. The strong "s" sounds resemble the act of spitting, which also starts with the letter "s". Havisham is so emotionally upset that she says the words in a biting manner. The fact that Havisham is a spinster "stinks", or in formal terms, is detestable or being a spinster stinks in the literal sense because she never wore anything but her wedding dress for decades. Also her "slewed mirror", turned to the side violently, shows her anger and disappointment in herself for being a spinster. Her mirror is slewed because she doesn't like her reflection that directly exposes her old age, an increase in wrinkles and popped out veins, and her increasingly yellowing white dress. However, the "i" vowel of "spinster" and "stink" also rhyme. This technique is called assonance. The technique also supports the idea of being detestable to be a spinster.
These three words are linked together by the technique sibilance. The strong "s" sounds resemble the act of spitting, which also starts with the letter "s". Havisham is so emotionally upset that she says the words in a biting manner. The fact that Havisham is a spinster "stinks", or in formal terms, is detestable or being a spinster stinks in the literal sense because she never wore anything but her wedding dress for decades. Also her "slewed mirror", turned to the side violently, shows her anger and disappointment in herself for being a spinster. Her mirror is slewed because she doesn't like her reflection that directly exposes her old age, an increase in wrinkles and popped out veins, and her increasingly yellowing white dress. However, the "i" vowel of "spinster" and "stink" also rhyme. This technique is called assonance. The technique also supports the idea of being detestable to be a spinster.
"cawing Nooooo"
Duffy uses onomatopoeia to portray the anguish cry of Havisham with words. She purposely uses "Nooooo" instead of just "No" or "she screamed" to emphasize the betrayal Havisham felt when she was left at the altar. The "cawing" of a crow, which is a screeching sound, further enhances Havisham's anguish cry.
Duffy uses onomatopoeia to portray the anguish cry of Havisham with words. She purposely uses "Nooooo" instead of just "No" or "she screamed" to emphasize the betrayal Havisham felt when she was left at the altar. The "cawing" of a crow, which is a screeching sound, further enhances Havisham's anguish cry.
"cawing", "wall"
Duffy uses internal rhyme in the second stanza between "cawing" and "wall". The horrid sound of a cawing crow and the sensation of walls bring about awareness of the confined space. It makes the audience feel uncomfortable and claustrophobic.
Duffy uses internal rhyme in the second stanza between "cawing" and "wall". The horrid sound of a cawing crow and the sensation of walls bring about awareness of the confined space. It makes the audience feel uncomfortable and claustrophobic.
"Whole", "Nooooo", "open", "wardrobe"
Duffy uses assonance of the "o" vowel to signify that Havisham spent her "whole days" yelling "nooooo" in pain and anguish and "open"ing the "wardrobe" to look at her reflection and remind herself that she is still an unmarried woman. The technique of the "o" vowel portrays Havisham's daily routine of living in vengeful anger.
Duffy uses assonance of the "o" vowel to signify that Havisham spent her "whole days" yelling "nooooo" in pain and anguish and "open"ing the "wardrobe" to look at her reflection and remind herself that she is still an unmarried woman. The technique of the "o" vowel portrays Havisham's daily routine of living in vengeful anger.
"dress", "this"
After observing her reflection, she asks "Who did this...?" "This" forms a half-rhyme with the word "dress" in line 6 to which the audience is inclined to make the inference that "this" refers to "dress". However, "this" refers to more than her dress. It not only refers to her dress, but also her obsessed behavior as well as her broken heart.
After observing her reflection, she asks "Who did this...?" "This" forms a half-rhyme with the word "dress" in line 6 to which the audience is inclined to make the inference that "this" refers to "dress". However, "this" refers to more than her dress. It not only refers to her dress, but also her obsessed behavior as well as her broken heart.
THIRD STANZA
"to", "Puce"
The half-rhyme connects the word "puce" with the hypophora "Who did this to me?" The color of bruises is puce, and the hypophora seems to suggest that Havisham's heart is dark or brownish purple, as if it was bruised and broken.
The half-rhyme connects the word "puce" with the hypophora "Who did this to me?" The color of bruises is puce, and the hypophora seems to suggest that Havisham's heart is dark or brownish purple, as if it was bruised and broken.
"curses", "words"
With this half-rhyme, Duffy intended to say that Havisham is so broken that she can't form sentences of words, but only scream and yell. Havisham curses at her ex-fiance but they are not words, but just sounds that express her emotions as raw and honest as they are. This half-rhyme, along with the other half-rhymes Duffy utilized in the poem enhances the fragmented and disoriented ambiance.
With this half-rhyme, Duffy intended to say that Havisham is so broken that she can't form sentences of words, but only scream and yell. Havisham curses at her ex-fiance but they are not words, but just sounds that express her emotions as raw and honest as they are. This half-rhyme, along with the other half-rhymes Duffy utilized in the poem enhances the fragmented and disoriented ambiance.
"nights", "bite"
Duffy implements assonance to show that even on "some [better] nights", Havisham still ends up "bit[ing] awake" and preventing the good night from lasting. The word "bite" intensifies the extent to which Havisham is affected by these nights, to have her wishes of a perfect marriage come true before she wakes up and finds it to be just a dream.
Duffy implements assonance to show that even on "some [better] nights", Havisham still ends up "bit[ing] awake" and preventing the good night from lasting. The word "bite" intensifies the extent to which Havisham is affected by these nights, to have her wishes of a perfect marriage come true before she wakes up and finds it to be just a dream.
"lost", "Love's"
This alliteration within the third stanza indicates that her ex-fiance is not only a "lost body" but also a "lost love". Duffy underscored these two words to convey that Havisham truly loved him, even through all the curses and wishes for him to die.
This alliteration within the third stanza indicates that her ex-fiance is not only a "lost body" but also a "lost love". Duffy underscored these two words to convey that Havisham truly loved him, even through all the curses and wishes for him to die.
FOURTH STANZA
"Bang."
The technique used is onomatopoeia. Duffy uses onomatopoeia to illustrate the forcefullness and abruptness of the message Havisham received from her ex-fiance that he was leaving her for good. It also demonstrates her heart, her love - symbolized by a red balloon in line 13 - bursting like a real balloon.
The technique used is onomatopoeia. Duffy uses onomatopoeia to illustrate the forcefullness and abruptness of the message Havisham received from her ex-fiance that he was leaving her for good. It also demonstrates her heart, her love - symbolized by a red balloon in line 13 - bursting like a real balloon.
"strangle", "stabbed"
Duffy utilizes both sibilance and alliteration with these words. Both words are verbs that cause injuries to a person. Even though "strangle" is in the first stanza and "stabbed" in the fourth, the two words can be connected with sibilance and alliteration. The sibilance of the words seem to increase the sinister voice of the speaker, and through alliteration of these two words, the poem seems to form an ethereal coherent structure amongst the enjambments and half-rhymes.
Duffy utilizes both sibilance and alliteration with these words. Both words are verbs that cause injuries to a person. Even though "strangle" is in the first stanza and "stabbed" in the fourth, the two words can be connected with sibilance and alliteration. The sibilance of the words seem to increase the sinister voice of the speaker, and through alliteration of these two words, the poem seems to form an ethereal coherent structure amongst the enjambments and half-rhymes.
"balloon bursting", "Bang", "b-b-b-breaks"
The plosives of these words reinforce the bursting and "bang" sound of a balloon that pops. This can also be alliteration since these words all start with "b". The repeated alliteration of the word "b-b-b-breaks" seems almost onomatopoeic, resembling the sound of a heart breaking, or a person weeping
The plosives of these words reinforce the bursting and "bang" sound of a balloon that pops. This can also be alliteration since these words all start with "b". The repeated alliteration of the word "b-b-b-breaks" seems almost onomatopoeic, resembling the sound of a heart breaking, or a person weeping
"balloon", "honeymoon"
Duffy uses consonance to symbolize Havisham's red balloon with her dream of the perfect marriage: a wedding cake, a ceremony, love, commitment, and a honeymoon. However, that balloon of her dreams bursts in her face when she realizes they cannot come true.
Duffy uses consonance to symbolize Havisham's red balloon with her dream of the perfect marriage: a wedding cake, a ceremony, love, commitment, and a honeymoon. However, that balloon of her dreams bursts in her face when she realizes they cannot come true.
"male corpse", "long slow honeymoon"
The long vowels of these words implies that the honeymoon will be long, but it will not be like a typical honeymoon. The long syllables of "male corpse" creates an ominous mood which transfers to the honeymoon to suggest that Havisham will do unspeakable things to the male corpse. The "slow" seems to connote that she will inflict pain to the male corpse as slowly and as painfully as possible.
The long vowels of these words implies that the honeymoon will be long, but it will not be like a typical honeymoon. The long syllables of "male corpse" creates an ominous mood which transfers to the honeymoon to suggest that Havisham will do unspeakable things to the male corpse. The "slow" seems to connote that she will inflict pain to the male corpse as slowly and as painfully as possible.
"cake", "b-b-b-breaks"
This is the only end-rhyme within the whole poem. Duffy implements half-rhyme and enjambments to create fragments to represent Havisham's broken nature, to illustrate her lunatic obsession. But the last word in the whole poem ends with a full rhyme. The technique seems to ask the audience to understand Havisham and her obsession for vengeance. By saying that "it's not only the heart that b-b-b-breaks", Duffy is trying to make the audience to have pity on Havisham.
This is the only end-rhyme within the whole poem. Duffy implements half-rhyme and enjambments to create fragments to represent Havisham's broken nature, to illustrate her lunatic obsession. But the last word in the whole poem ends with a full rhyme. The technique seems to ask the audience to understand Havisham and her obsession for vengeance. By saying that "it's not only the heart that b-b-b-breaks", Duffy is trying to make the audience to have pity on Havisham.