The women of Brewster place by Gloria Naylor

The women of Brewster place by 

                                      Gloria Naylor

Summery :-

As we study about African literature and how the African - American culture see in literature. But we know that African American literature in feminist writers is no more, but here I reviews about Anglo- American very famous and notorious African - American black writer, feminist critics Gloria Naylor. She was raised in a comfortable middle class community in queens, but her family’s roots were in Mississippi. Her famous and first novel, ‘The women of Brewster place’ reflects this dual culture inheritance. We find that in American and African literature in women are center and also our society marginality of women. Here we see that characters are transplanted from their home community in the south to unnamed northern city that is the context for this novel. We find that in this novel in African American community of affluent and also see that the spiritual moral concern that Naylor brought to her novel “The women of Brewster place”. Naylor continued to present the ideas that compromise the experience of African American culture and especially black women.

The women of Brewster place are a novel told in six stories about seven black women and all women characters are centered. We find that seven are individual and while there are tells to this place Brewster in her life want way and how their in entire community at all in tells them. Brewster place is a housing development in an unnamed city. It seems destined to be an unfortunate place. Since the people linked to its creation are all corrupt.  The stories within the novel are the stories these residents.  The first and longest narrative within the novel is Mattie Michael. Mattie’s purchases the house and remain there to raise her son; basil grows up to be a troubled Young man who is unable to claim responsibility for his actions.  Mattie’s childhood friend, Etta Johnson joins Mattie at Brewster place. After a long life of running from one man to the next. She has arrived at Mattie’s hopping to find some stability. Naylor constructs a seventh ostensibly designed to draw discrete elements together, and she give thinks “round off the collection”, as “the block party” is a vision of community effort. In here we see that third person narrator of the expresses this thought in the “kiswana Browne”, kiswana’s mother is approaching Brewster place.  The thought exemplifies the combination of hope and frustration that defines the lives of Brewster place’s residents. Ben has lived in Brewster place longer than any other resident, and he is also the first African- American to have lived in the community. 

In here novel in several character leave to gather and we see that how they became dependent to each other, and Naylor uses symbols in “The women of Brewster place” and we know that this place is dead end of street and women struggle in this place and here “Home” at all them and we find that the women who live there are trapped by their histories, hope, desire, dream and leave still to gather at family them. It also stands for oppression the women have endured in the forms of prejudice, violence, racism, shame, sexism. And we see that Etta, Cora, Mattie, Sophia, Ben, Michel, Miss Eva,  kiswana  etc are face and how the African – American  society are still representing the drug dealing street gangs who rape and kill without remorse garbage and we find that this women at physical relation to unknown men partner and her children  are unknown them. This novel title has appropriated one like that Naylor gives Brewster place human characters and this place undergoes life processes here. 

This Brewster place is born, in Naylor says that “Bastard child”, and we see that their father are unknown and Naylor give beautiful image about their women‘s stories within framework of the street and place life between its birth and death. Here we see that how male dominated men are treated to women and so many affair or sexual relationship to women and they don’t care of this women and his child. And we see that Mattie succeed in her struggle to bring ceil back to life after death of her, she is sensitive healing, and rebirth of her life. And Naylor has women and how she give thinks about women unknown identity to this society and society became cruel to women and they only for leaving life and women dependent to male and force fully they want way to this path and join gangs, dealing drugs, prostitutes, physical relationship to so many men and women has do that forcefully and no other choice to still leaving in this society. In this place Brewster place has symbol and not only for Africa but in example that in India ‘Dharvi slums’ has one became Brewster place in India.

 

 In India Maharashtra ‘Dharvi slums’ has one Brewster place and we see that how women became use that particular class rich or poor men and it may be says that women are poor, not earn money, helpless, dowry, Slums, hopeless and society become forcefully women want way and we know says that they became prostitutes and no any chance to still leaving at all no money them. and how women any earn money and they want them and how rich, and power position people use to poor, law class women at sexual and women no any choice at all, and forcely their want way and ‘Dharvi slums’ has one example and also in India but in world so many county and city in how men are use sexual perversion and physical relationship at knowingly inwomen and women at cruelly treated to men.

So we conclude that Naylor partial to African American heritage see in this novel and how black women situation to society and no one can give them to male are dominated and they use to sexual and cruel treated than.

And here we see that Brewster place’s women lives within the failure of the sixties dreams and there is no doubt a dimensions of the women that reelects on specific to individualized. And Naylor has to create all one character, one protagonist at them to seven dreams and this place are symbol and Naylor focus on the individual dreams and psychologies of the women in the stories. Naylor’s novel the women Brewster place  does not offer itself as a definitive treatment of black women, community, society, religious, country  but it reflects a reality that great many black women in particular to individual, and their stories in this place.

“ Dover Beach” By Matthew Arnold

“ Dover Beach” By Matthew Arnold

The sea is calm tonight.

The tide is full, the moon lies fair

Upon the straits; on the French coast the light

Gleams and is gone; the cliffs of England stand,

Glimmering and vast, out in the tranquil bay.

Come to the window, sweet is the night-air!

Only, from the long line of spray

Where the sea meets the moon-blanched land,

Listen! you hear the grating roar

Of pebbles which the waves draw back, and fling,

At their return, up the high strand,

Begin, and cease, and then again begin,

With tremulous cadence slow, and bring

The eternal note of sadness in.

Sophocles long ago

Heard it on the Ægean, and it brought

Into his mind the turbid ebb and flow

Of human misery; we

Find also in the sound a thought,

Hearing it by this distant northern sea.

The Sea of Faith

Was once, too, at the full, and round earth’s shore

Lay like the folds of a bright girdle furled.

But now I only hear

Its melancholy, long, withdrawing roar,

Retreating, to the breath

Of the night-wind, down the vast edges drear

And naked shingles of the world.

Ah, love, let us be true

To one another! for the world, which seems

To lie before us like a land of dreams,

So various, so beautiful, so new,

Hath really neither joy, nor love, nor light,

Nor certitude, nor peace, nor help for pain;

And we are here as on a darkling plain

Swept with confused alarms of struggle and flight,

Where ignorant armies clash by night.

 Summery :-


"Dover Beach" is a long lyric poem by the English poet Matthew Arnold. It was first published in 1867 in the collection New Poems, but surviving notes indicate its composition may have begun as early as 1849.
the first stanza switches from visual to auditory descriptions, including "the grating roar" and "tremulous cadence slow." The evocation of several senses fills out the experience more, and creates the sense of an overwhelming and all-encompassing moment.
One night, the speaker of "Dover Beach" sits with a woman inside a house, looking out over the English Channel near the town of Dover. They see the lights on the coast of France just twenty miles away, and the sea is quiet and calm.
When the light over in France suddenly extinguishes, the speaker focuses on the English side, which remains tranquil. He trades visual imagery for aural imagery, describing the "grating roar" of the pebbles being pulled out by the waves. He finishes the first stanza by calling the music of the world an "eternal note of sadness."
The next stanza flashes back to ancient Greece, where Sophocles heard this same sound on the Aegean Sea, and was inspired by it to write his plays about human misery.
Stanza three introduces the poem's main metaphor, with: "The Sea of Faith/Was once, too, at the full, and round earth's shore." The phrase suggests that faith is fading from society like the tide is from the shore. The speaker laments this decline of faith through melancholy diction.
In the final stanza, the speaker directly addresses his beloved who sits next to him, asking that they always be true to one another and to the world that is laid out before them. He warns, however, that the world's beauty is only an illusion, since it is in fact a battlefield full of people fighting in absolute darkness.
The Main theme of Matthew Arnold's "Dover Beach" is the failure of religion in the modern world. It characterizes the Earth as a place that seems joyful and bright but is actually full of pain. Because religion can no longer soothe that pain, the speaker of the poem looks for consolation in romantic love.
Matthew Arnold achieves a lonely tone in the poem “Dover Beach, ” through the use of imagery, simile, and personification. The poem begins with a simple statement: “the sea is calm tonight”. At this early moment this is as yet nothing but a statement, waiting for the rest of the work to give it meaning.
In this poem consists of four stanzas, each containing a variable number of verses. The first stanza has 14 lines, the second 6, the third 8 and the fourth 9. As for the metrical scheme, there is no apparent rhyme scheme, but rather a free handling of the basic iambic pattern.

Christabel : Samuel Taylor Coleridge :-

Introduction :-

Samuel Taylor Coleridge was an English poet, literary critic and philosopher who, with his friend William Wordsworth, was a founder of the Romantic Movement in England and a member of the Lake Poets.Christabel is a long narrative poem by Samuel Taylor Coleridge, in two parts. The first part was reputedly written in 1797, and the second in 1800. Coleridge planned three additional parts, but these were never completed.

Summery :-

Christabel is a lovely, innocent young woman who goes out into the woods one spooky night at midnight to pray. While she's praying, she is startled by another young woman named Geraldine. Poor Geraldine claims to have been kidnapped and left beneath the tree for some unknown reason by her assailants. Ignoring the massive holes in Geraldine's story, Christabel gives Geraldine shelter for the night, promising that her father, Sir Leoline, will handle the bad guys and keep Geraldine safe.

Because no one is awake and Christabel is a very pampered lady who has no idea how to make up a guest bed for a damsel in distress, she brings Geraldine to share her bed. Once in the bedroom, though, it turns out that Geraldine is not only strikingly beautiful but also some kind of witch or vampire or something (we're not sure what, exactly). She puts a spell on poor, innocent Christabel that makes it impossible for Christabel to tell anyone about what she and Geraldine do in that bed. The spell works so well that even the speaker doesn't know exactly what happened, and the reader is never fully informed either. What we do know is that they were both naked and there is a lot of talk about bosoms. Oh, and Christabel didn't seem to mind too much.
The next morning, the speaker tells us some more about Christabel's dead mother. Did we forget to mention that part? Don't worry, the speaker won't let anyone forget about it, and neither will Sir Leoline. It turns out that he has made a law that the bells will continue to ring about a million times (we may be exaggerating, but only a little) every morning, so that he remembers the day he woke up to his wife being dead after she gave birth to his daughter. For the record, we're pretty sure Sir Leoline doesn't get many party invitations.
Geraldine and Christabel wake up. Though Christabel is wrestling with the feeling that something sinister has happened, she's not able to articulate it and goes about her business. That business is introducing Geraldine to Sir Leoline.
It turns out that Geraldine is the daughter of Leoline's long-lost best friend. They had a fight about something and they never spoke to each other again. Leoline decides that this is a really good excuse to offer his old friend an olive branch and mend their friendship.
All of this sounds lovely, doesn't it? Just one problem: during the storytelling and reminiscing, Christabel is seeing flashes of Geraldine's true form. People are noticing that she's freaking out, but she can't tell anyone what she sees or remembers because of that stupid spell. All the while, Geraldine is working some kind of magic—either just her feminine magic or  actual black magic—and convincing Leoline that she's just an innocent victim. She does this despite the fact that Christabel is begging him to just send Geraldine away. Even his trusted bard has told him that he's had a vision that something pretty awful is going on, and it involves his lovely, innocent daughter.
Leoline gets really angry at all the rude behavior, and…and…well, that's the end—seriously. We're all left hanging. An unfinished poem doesn't sound like a big deal until you get wrapped up in the story and then get cut off just when things are heating up.

“Punishment” By Seamus Heaney -

 

Analysis:-

 

The poem Punishment by Seamus Heaney was inspired by the discovery of a dead body of a young girl who was believed to be killed on the charge of adultery. Heaney takes this discovery as an ancient example of brutality and links it with the modern form of brutality which is evident of Irish rebel’s killing of Irish girls who marry British soldiers.

This poem putting brutality at the center links past and present, history and modern time then and now and there and here. What continue from ancient time to modern time are cruelty/ brutality and primitivism. “Bog” in the poem serves as the central metaphor that is symbolic of the continuation of inhumanity, brutality, cruelty, and killing of innocent people throughout the human history.

In the first, second, and third stanzas the poet using his sympathetic imagination describes the way the girl was punished on the charge of adultery. He creates the picture of a weak and fragile girl and seems to be suffering her pain and agonies. When the girl was punished, she was pulled her with a rope from her neck, she was made naked. The girl was trembling with cold, her whole body was shaking. She was behaved as if she was not human and non-living. They used an old knife to share her head. Her eyes were blindfolded so that she could not see the world. Instead of a ring they gave her a noose. And finally she was buried alive. The stones, rods and boughs were used to cover the bog.

In the fifth and seventh stanza the poet beautifies the dead body and attempts to create a mental picture of the girl, when she was alive. He compares ‘shaved head’ to ‘stubble of black corn”, the noose to a “ring” and he imagines a beautiful picture of the girl as flaxen (silky) haired and with a beautiful tar-black face. The poet shows his sorrow and pity to the girl by saying “My poor scapegoat” which indicates she alone is the victim of the so-called crime of adultery since her partner is not punished because he is male. She alone is punished for their so called criminal act, she became a scapegoat. In the sixth stanza the poet makes it clear that she was killed on the charge of adultery, but this adultery for doing “love” is not a crime.

In the 8th stanza the poet shows his ambivalent attitude regarding his relation to that girl. On the one hand he claims to be in love with that girl but on the other hand he shows his helplessness that he could do nothing to save the girl. This stanza raises the serious question about the role of an artist in a situation in which innocents are victimized. For, Heaney this role is the role of a “voyeur” who can observe the scene from a distance only to draw it artistically. In the last two stanzas of the poem, the poet repeats the same role of passive observer and links past and present. He compares the brutality of tribal men of the first century AD and brutality of the Irish Revolutionary Army. What he observes is that the perpetrators are different but the form of brutality is the same. In both past and present innocents are victimized for the crime.

In Ireland Irish girls who married British soldiers were brutally killed by Irish Revolutionary Armies. The marriage between and Irish girl and British soldiers was viewed as an act of betraying Irish nationalism or Irish Revolution as suggested by the term “your betraying sisters”. The poet seems to be mocking the claim of modern men being civilized. Though there is a constant claim of civilization but the base of it is constituted by atrocity, brutality, inhumanity and cruelty.

The poet is Irish, mostly he engages with Irish culture, tradition or the convention. Others celebrate it but he talks about it to point out its internal contradictions. He explores the dark sports of human history in Irish culture. He always relates the individual Irish culture to the general theme of humanity.

“Digging” By Seamus Heaney

“Digging” By Seamus Heaney:- (1939-2013) 

 

 

Between my finger and my thumb

The squat pen rests; snug as a gun.

Under my window, a clean rasping sound

When the spade sinks into gravelly ground:

My father, digging. I look down

Till his straining rump among the flowerbeds

Bends low, comes up twenty years away

Stooping in rhythm through potato drills

Where he was digging.

The coarse boot nestled on the lug, the shaft

Against the inside knee was levered firmly.

He rooted out tall tops, buried the bright edge deep

To scatter new potatoes that we picked,

Loving their cool hardness in our hands.

By God, the old man could handle a spade.

Just like his old man.

My grandfather cut more turf in a day

Than any other man on Toner’s bog.

Once I carried him milk in a bottle

Corked sloppily with paper. He straightened up

To drink it, then fell to right away

Nicking and slicing neatly, heaving sods

Over his shoulder, going down and down

For the good turf. Digging.

The cold smell of potato mould, the squelch and slap

Of soggy peat, the curt cuts of an edge

Through living roots awaken in my head.

But I’ve no spade to follow men like them.

Between my finger and my thumb

The squat pen rests.

I’ll dig with it.

* Seamus Justin Heaney, MRIA was an Irish poet, playwright, translator and lecturer. He received the 1995 Nobel Prize in Literature. Born near Castledawson, County Londonderry, Northern Ireland, the family moved to nearby Bellaghy when he was a boy.

Summery :-

Digging” is a relatively short poem (thirty-one lines) in free verse. While it has no set pattern of doing so, it breaks up into stanzas of two to five lines. The presence in the poem of the first person “I” who wields a pen, and the family reminiscences, identify the speaker as Seamus Heaney himself and the poem as autobiographical. The poem is filled with the terminology of Heaney’s native Ireland.
Heaney begins the poem with an image of himself, pen in hand. He hears or is remembering the sound of digging under his window. It is his “father, digging”; however, the reader is told in line 7 that it is an echo from the past. Knowing that, “to ‘look down’ ” can be understood to refer both to the memory of his father’s presence below the window and to looking back through time to it. The image of his father as he “Bends low” can also mean two things: the bending that accompanies digging and the stooping of age.
Because his father is dead, “twenty years away,” the sound can also echo the digging of graves, an image that is further reinforced by the evocations of the smell and feel of the soil. The father who is dead was a laborer, a potato farmer, as his father before him was a digger of “turf,” or peat.
The middle stanzas paint a picture of the activity of digging, as it was part of Heaney’s childhood: The father stoops “in rhythm,” and the spade is held “firmly.”
When Heaney writes "I'll dig with it," we see that yes, our speaker is different from his father and grandfather in what and how he digs, but he is also similar in that he is trying to "get to the bottom" or "unearth" certain things too. And just as his father and grandfather dig down into the earth, perhaps our speaker wants to dig down into his past, his roots, to give proper recognition to awesome men like his elders.
The last lines of the poem show how the speaker carries on the tradition of work and "digging" in his own work, different as it may be.

"Daddy" By Sylvia Plath

Daddy:-

Sylvia Plath ,1932 - 1963,

You do not do, you do not do
Any more, black shoe
In which I have lived like a foot
For thirty years, poor and white,
Barely daring to breathe or Achoo.

Daddy, I have had to kill you.
You died before I had time—
Marble-heavy, a bag full of God,
Ghastly statue with one gray toe
Big as a Frisco seal

And a head in the freakish Atlantic
Where it pours bean green over blue
In the waters off beautiful Nauset.
I used to pray to recover you.
Ach, du.

In the German tongue, in the Polish town
Scraped flat by the roller
Of wars, wars, wars.
But the name of the town is common.
My Polack friend

Says there are a dozen or two.
So I never could tell where you
Put your foot, your root,
I never could talk to you.
The tongue stuck in my jaw.

It stuck in a barb wire snare.
Ich, ich, ich, ich,
I could hardly speak.
I thought every German was you.
And the language obscene

An engine, an engine
Chuffing me off like a Jew.
A Jew to Dachau, Auschwitz, Belsen.
I began to talk like a Jew.
I think I may well be a Jew.

The snows of the Tyrol, the clear beer of Vienna
Are not very pure or true.
With my gipsy ancestress and my weird luck
And my Taroc pack and my Taroc pack
I may be a bit of a Jew.

I have always been scared of you,
With your Luftwaffe, your gobbledygoo.
And your neat mustache
And your Aryan eye, bright blue.
Panzer-man, panzer-man, O You—

Not God but a swastika
So black no sky could squeak through.
Every woman adores a Fascist,
The boot in the face, the brute
Brute heart of a brute like you.

You stand at the blackboard, daddy,
In the picture I have of you,
A cleft in your chin instead of your foot
But no less a devil for that, no not 
Any less the black man who

Bit my pretty red heart in two.
I was ten when they buried you.
At twenty I tried to die
And get back, back, back to you.
I thought even the bones would do.

But they pulled me out of the sack,
And they stuck me together with glue.
And then I knew what to do.
I made a model of you,
A man in black with a Meinkampf look

And a love of the rack and the screw.
And I said I do, I do.
So daddy, I’m finally through.
The black telephone’s off at the root,
The voices just can’t worm through.

If I’ve killed one man, I’ve killed two—
The vampire who said he was you
And drank my blood for a year,
Seven years, if you want to know.
Daddy, you can lie back now.

There’s a stake in your fat black heart
And the villagers never liked you.
They are dancing and stamping on you.
They always knew it was you.
Daddy, daddy, you bastard, I’m through.

12 October 1962

 Summery :-

Sylvia Plath was an American poet, novelist, and short story writer. Born in Boston, she studied at Smith College and Newnham College at the University of Cambridge before receiving acclaim as a poet and writer.

"Daddy" is perhaps Sylvia Plath's best-known poem. It has elicited a variety of distinct reactions, from feminist praise of its unadulterated rage towards male dominance, to wariness at its usage of Holocaust imagery. It has been reviewed and criticized by hundreds and hundreds of scholars, and is upheld as one of the best examples of confessional poetry.

"Daddy," comprised of sixteen five-line stanzas, is a brutal and venomous poem commonly understood to be about Plath's deceased father, Otto Plath.
The speaker begins by saying that he "does not do anymore," and that she feels like she has been a foot living in a black shoe for thirty years, too timid to either breathe or sneeze. She insists that she needed to kill him (she refers to him as "Daddy"), but that he died before she had time. She describes him as heavy, like a "bag full of God," resembling a statue with one big gray toe and its head submerged in the Atlantic Ocean. She remembers how she at one time prayed for his return from death, and gives a German utterance of grief (which translates literally to "Oh, you").
She knows he comes from a Polish town that was overrun by "wars, wars, wars," but one of her Polack friends has told her that there are several towns of that name. Therefore, she cannot uncover his hometown, where he put his "foot" and "root."
She also discusses how she could never find a way to talk to him. Even before she could speak, she thought every German was him, and found the German language "obscene." In fact, she felt so distinct from him that she believed herself a Jew being removed to a concentration camp. She started to talk like a Jew and to feel like a Jew in several different ways. She wonders in fact, whether she might actually be a Jew, because of her similarity to a gypsy. To further emphasize her fear and distance, she describes him as the Luftwaffe, with a neat mustache and a bright blue Aryan eye. She calls him a "Panzer-man," and says he is less like God then like the black swastika through which nothing can pass. In her mind, "Every woman adores a Fascist," and the "boot in the face" that comes with such a man.
When she remembers Daddy, she thinks of him standing at the blackboard, with a cleft chin instead of a cleft foot. However, this transposition does not make him a devil. Instead, he is like the black man who "Bit [her] pretty red heart in two." He died when she was ten, and she tried to join him in death when she was twenty. When that attempt failed, she was glued back together. At this point, she realized her course - she made a model of Daddy and gave him both a "Meinkampf look" and "a love of the rack and the screw." She promises him that she is "finally through;" the telephone has been taken off the hook, and the voices can no longer get through to her.



She considers that if she has killed one man, then she has in fact killed two. Comparing him to a vampire, she remembers how he drank her blood for a year, but then realizes the duration was closer to seven years. She tells him he can lie back now. There is a stake in his heart, and the villagers who despised him now celebrate his death by dancing on his corpse. She concludes by announcing, "Daddy, Daddy, you bastard, I'm through."

Carol Ann Duffy's poem :-"Warming her Pearls"

Carol Ann Duffy's poem :-"Warming her Pearls"

"Warming her Pearls"

Next to my own skin, her pearls. My mistress

bids me wear them, warm them, until evening

when I'll brush her hair. At six, I place them

round her cool, white throat. All day I think of her,

resting in the Yellow Room, contemplating silk

or taffeta, which gown tonight? She fans herself

whilst I work willingly, my slow heat entering

each pearl. Slack on my neck, her rope.

She's beautiful. I dream about her

in my attic bed; picture her dancing

with tall men, puzzled by my faint, persistent scent

beneath her French perfume, her milky stones.

I dust her shoulders with a rabbit's foot,

watch the soft blush seep through her skin

like an indolent sigh. In her looking-glass

my red lips part as though I want to speak.

Full moon. Her carriage brings her home. I see

her every movement in my head.... Undressing,

taking off her jewels, her slim hand reaching

for the case, slipping naked into bed, the way

she always does.... And I lie here awake,

knowing the pearls are cooling even now

in the room where my mistress sleeps. All night

I feel their absence and I burn.

Introduction about poet:-

   Carol N. Duffy has born in 1955. Carol Duffy as poet and she read philosophy at Liverpool University. She grew up in a working class family that believed in social change and the political of protest. So she published her poems at 16. She lived in London for fifteen years. She also writes plays and poetry. In Oct 2000, she was awarded a grant of 75 thousand pound to be use over a five year period by national endowment for science, technology and arts. Carol N. Duffy likes to challenges normal views with new ideas and approaches. Her work has most that feminist and her most collective poems in see that to feminine ideas and she argues that to muscular ideas. Her most numbers of poems are like that...

1] Standing female nude

2] Selling Manhattan3] The world’s wife4] Feminine gospels5] Out of fashion6] Warming her pearls7] The good child’s guide to rock N rock

Analysis of the poem :-

* In this poem warming her pearls Carol N. Duffy explore the very intimate and ever strangely codependences relationship between a made and her house keeping mistress. This poem not about Carol, but one maid work to house and her situation of society and her life at all about to upper class women life and how they create think of our social system. Carol Duffy creates a character, speaker who is a maid, a servant who speaks the words of poem. It is in the form of dramatic monologues. In this poem Duffy has given the secret romantic attachment of the maid for her mistress and her re- writes the dynamics between the servant and employer.

* In this first stanza the speaker a maid has an unusually task, to wear her mistress pearls during the day to warm them. It is one of her duties as a maid or servant. In the first stanza the speaker describes how she transfers the pearls from her thought when she brushers her mistress hair every evening at 6’o clock. The feeling of the peals on the servant through all day is a constant reminder of her mistress. This is carefully structure poem of six stanza and containing four lines. In this stanza as we notice that choice of diction and same sentence are short. This may suggest the maid’s anger and also we find that social situation.

* In the second stanza the maid describes the idle daily of her mistress as she plans her evening, delfts and fans herself. The mistress is obviously a sociality that is someone who lives for parties. The maid on her hand all work in day. The maid feels like she is a slave on a rope. The rope represents the power of the mistress over her. Here the peals necklace forms the imaginary rope. We find a comparison the speaker makes cleaver and compares the peals to rope because when she a wears them they are like a rope. This is metaphor in which the servant suggests that she like slave held by a rope. The ropes represent power. It also that certain way the mistress carries herself by warming pearls.

The maid body Adour and she not touch them.

* In the third stanza the maid considers her mistress social life. She also praise her mistress beauty as the maid lies in the at night. Her day dreams about the handsome men who dance with her mistress at parties as she thinks about the pearls, the mistress and parties. The speaks as the maid has a funny thought them, realize that her mistress dancing partner are probably put off by the pearls because they carry her body Adour is not hidden by expensive French perfume that the mistress wears. It is funny that the maid pictures the scene of man feeling confused by this persistent sent but the mistress never cops on to it. Thus it is ironic and a funny and silly contradiction that “The pearls necklace” is the very thing that prevent the mistress from gaining a lover or partner. The maid obviously likes the mischievous thought.

Carol says that to her ideas about that to woman struggle and situation and they became controversial of woman beauty. She use words about of women beauty alliteration “P” connected ‘puzzled’ and ‘persistent’ as to given but social life and her gives to word “Adour” as bad one to male partner. And we find that she put off the handsome man off the posh lady. How men use to women and became her real life thighs see that in this poem.

Again the she use word “w” in ‘whist’ and ‘willingly’emphasis the maid’s positive attitude to doing work as a opposed to idly funning herself like the mistress. Thus the tone of women and in this poem is ironical because the reach mistress gains the opposite effect from pearls.

* In the forth stanza the speaker apply various cosmetics on her mistress skin one of her main duties. She is aware of the lazy of her mistress life style. There is a suggestion of a sigh. This suggests that behind all the fussing. The idle mistress is not happy with her reach life. As the maid dusts on the powder, she has an urge to tell her mistress something, most likely the reason for her luck of success with men but the maid of posh ladies is not supposed to express opinion. So she stayed quiet, here we find that the poet use the ideas about woman and they like to her beauty and impress to men. In the poem the theme of self deception is found because the speaker portrays a main mistress, who divorce herself to socializing and also the mood atmosphere is mainly one of luxury with description of find clothes, perfume, fine rooms and evening balls.

* In the fifth stanza the mistress arrives home alone in her grand carriage. The poet has imagines her, mistress undressing and going to bed after putting her precious pearls in their case. In the final stanza the maid lays awake thinking about the pearls cooling in their case. She is aware that the mistress is always alone. The maid misses the cool feeling the pearls gave to her thought. She burns either with a desire to have the pearls around her neck or with rage at the contrast between her lifestyle and her mistress lifestyle.

Faminiest point of view in the poem

Carol Duffy has to feminist writer and she also use to feminine ideas; we can find that how women struggle to against men. In poem, Carol says that the maid work to house and the mistress give do work to the maid. Here we find that feminine ideas and women are helpless. If women became work to outside of home and men became free to them. But as we know that men are use to women as only sexual think. Here we find that the mistress as women is only use to fashion, jewelers, dress, cosmetic etc, as symbol of women identity and their became problematic to women. But as we know that our society is male dominated and not do to women has center and struggle to compare men into society. So here we find that how the maid and the mistress as women has center in the poem if became problems and we find that men are use women means the mistress and the maid at only to sexual and beauty of women. In the poem, the mistress partner has seen that to his female partner the mistress’s beauty, her pearls, and her richness and not see her originality to their life. Carol given to women has only of beauty in our society. Here we says that pearls as symbol and here pearls has women means female has see and her dream to warn to pearls in her neck. In this context women has one type of pearls and male has use to pearls means women, no any the maid use to her dream in her life. As we says that to male partner has only use to women, pearls as symbolic one in women life but our male society has cruel and only see that to pearls beauty, in other one lower means the maid and other women became margin to male partner.