• Join over 1.2 million students every month
  • Accelerate your learning by 29%
  • Unlimited access from just £6.99 per month

Write a critical appreciation of the poem that follows, looking particularly at its language, structure and imagery. You may find it helpful to know that the poet, Hugo Williams, is the son of the actor a playwright Hugh Williams.

Extracts from this document...

Introduction

Sunday, 09 March 2003 Jad Salfiti A2 English Write a critical appreciation of the poem that follows, looking particularly at its language, structure and imagery. You may find it helpful to know that the poet, Hugo Williams, is the son of the actor a playwright Hugh Williams. "Walking out of the room backwards" is written from the point of view of a child about his father. The poem tells of the father's difficulty in finding work as an unemployed actor at fifty. The use of repetition "Out of work at fifty, smoking fifty a day" hammers home that the father has reached an age where acting jobs are not as easy to find as they once were, this also draws attention to the fact is the "first time in his life" he has gone to auditions, the use of numbers is important, because children have a tendency ...read more.

Middle

The father is described as missing the bus to London "in full view of the house opposite" this is a horror to behold for the young narrator, the theme of performance is brought through, the father's inability to perform (or catch a bus) is being observed by an audience, the narrator from his bedroom window, and the narrator is self-conscious about the neighbours seeing, almost s though they are critics at the opening night of a play. The use of direct speech at the end of the first stanza "If it weren't for you and the children" involves the reader, and as an adult reader it is apparent that the child narrator can not understand his father's predicament and the significance of it. The narrator's father when described in the first and second stanza is always in his bed, this shows the physical helplessness he experiences as a result of the psychological distress he is feeling. ...read more.

Conclusion

Attention might be drawn to the length of the stanzas which are long and echo the way a young child might talk in long and unbroken sentences overlapping into one another. Reported speech is used when the narrator describes, "Because he was 'broke'" the use colloquialisms is childlike and informal. In the final stanza the use of a contradiction in terms "The future stands behind us" this is an oxymoron. This use of personification is epigrammatic. In the third stanza the usage of the words "amuse his theatrical friends" recalls the start of the second stanza "He wasn't amused", the poem constantly harps back to amusement and performance, everything is done to evoke a reaction, and the presence of an audience is always felt. Performance is used as a punishment "To punish me", this can be cross-referenced to the fact that the father's inability to perform in destroying him and is the ultimate form of punishment. ...read more.

The above preview is unformatted text

This student written piece of work is one of many that can be found in our AS and A Level Plays section.

Found what you're looking for?

  • Start learning 29% faster today
  • 150,000+ documents available
  • Just £6.99 a month

Not the one? Search for your essay title...
  • Join over 1.2 million students every month
  • Accelerate your learning by 29%
  • Unlimited access from just £6.99 per month

See related essaysSee related essays

Related AS and A Level Plays essays

  1. My Mother Said I Never Should - Form, Structure and Language

    Doris and Rosie are at the start of their lives, yet we know the reality of Doris's future. We see Jackie and Margaret nearer the end, having lost what they both strived for. Doris's joyful monologue has the effect of being ironic, yet still creating a more upbeat end to the play, amongst the nostalgia of the other characters.

  2. Form and Structure of 'Two'

    because of the way the Landlord and Landlady interact with each other, and when another person enters after them and continuous with this theme of the play the audience can now relate themselves with their experiences of relationships used and look at within this play.

  1. The Surface Brilliance of Tom Stoppard's 'Arcadia' Inhibits Appreciation of the Underlying Design, Discuss?

    must constantly work to keep track of props on stage, such as the pile of things gathered on the table as the play progresses. One of these things is 'The Couch of Eros', and with the collision of the modern and older worlds the reason behind the recurring mention of

  2. The stimulus we were given to look at was the play 'Too Much Punch ...

    Judy did not learn from her mistakes, even killing her own sister was not enough to stop her from making the same mistake again, despite her swearing to never drink and drive again after the first accident. This relates to another theme in the play, guilt.

  1. Detail your understanding of the Given Circumstances and the Magic 'If' in the Stanislavski ...

    Somewhere familiar? How does it feel? Am I hot or cold? Comfortable or uncomfortable? What has just happened? How do I feel about what has just happened? What do I expect to happen in the next few moments? Etc. By asking themselves questions like this, the actor is able to

  2. Study the language of home shopping channels.

    Line 6-7: 'You are getting the chain as well, 18 inches in length and it is like that beautiful Prince of Wales chain...' Line 42-43: 'Have a look at that beautiful swirl that you've got to the top of the earring' The repetition of the adjective 'beautiful' and the use

  1. Talking In Public: a Critical Analysis of Joyce Meyer Speech “What Is the Problem?".

    JM, on a platter of gold, the undivided attention of the audience. Not only was she able to introduce the subject matter of her speech with a bang, she also succeeded in profusely whetting the appetite of the audience. Critique: A rather grandeur opening of this kind is best suited to the seasoned and experienced speakers.

  2. 'In the language of the actor to know is synonymous with to feel.'

    But if it were real' how would it be? (Stanislavsky.) The rehearse section gave me a chance to really stop worrying about my lines, but get inside my character. Become something other than myself, and really let me imagination run thought my character.

  • Over 160,000 pieces
    of student written work
  • Annotated by
    experienced teachers
  • Ideas and feedback to
    improve your own work