‘Glasgow Sonnets (i)’ Edwin Morgan

‘Glasgow Sonnets (i)’Edwin Morgan

From Glasgow Sonnets (i) A mean wind wanders through the backcourt trash. Hackles on puddles rise, old mattresses puff briefly and subside. Play-fortresses of brick and bric-a-brac spill out some ash.5 Four storeys have no windows left to smash, but in the fifth a chipped sill buttresses mother and daughter the last mistresses of that black block condemned to stand, not crash. Around them the cracks deepen, the rats crawl.10 The kettle whimpers on a crazy hob. Roses of mould grow from ceiling to wall. The man lies late since he has lost his job, smokes on one elbow, letting his coughs fall thinly into an air too poor to rob.

First of all, we are going to look at the formandstructure of the poem.

This poem is written in the form of a SONNET. The sonnetis a poetic form with a particular STRUCTURE. Although there are different forms of sonnets, they all have 14 LINES. This is a PETRARCHAN Sonnet, originally created by the Italian, Francesco Petrarch in the 14th Century. In Petrarchan sonnets: The first 8 lines are known as the OCTET. The octet has the rhyme scheme ABBA ABBA The last 6 lines are known as the SESTET. The sestet has the rhyme scheme CDCDCD

From Glasgow Sonnets (i) A B The rhyming scheme does not create a rhythm due to the mixture of run on lines (enjambment) and end stopped lines in the poem. B A mean wind wanders through the backcourt trash. Hackles on puddles rise, old mattresses puff briefly and subside. Play-fortresses of brick and bric-a-brac spill out some ash.5 Four storeys have no windows left to smash, but in the fifth a chipped sill buttresses mother and daughter the last mistresses of that black block condemned to stand, not crash. Around them the cracks deepen, the rats crawl.10 The kettle whimpers on a crazy hob. Roses of mould grow from ceiling to wall. The man lies late since he has lost his job, smokes on one elbow, letting his coughs fall thinly into an air too poor to rob. A A B B A C D C D C D

From Glasgow Sonnets (i) What is the effect of the use of regular rhyme in the poem? A B B A mean wind wanders through the backcourt trash. Hackles on puddles rise, old mattresses puff briefly and subside. Play-fortresses of brick and bric-a-brac spill out some ash.5 Four storeys have no windows left to smash, but in the fifth a chipped sill buttresses mother and daughter the last mistresses of that black block condemned to stand, not crash. Around them the cracks deepen, the rats crawl.10 The kettle whimpers on a crazy hob. Roses of mould grow from ceiling to wall. The man lies late since he has lost his job, smokes on one elbow, letting his coughs fall thinly into an air too poor to rob. A A The poet uses rhyme to make a point about poverty. It will never change. Those who experience it are stuck. B B A C D C D C D

In Petrarchan sonnets: The OCTETpresents a PROBLEM – The VOLTA – the beginning of the sestet – marks a CHANGE IN TONE. The SESTET– makes a COMMENT ON THE PROBLEM. this is a series of statements that make us think about a CERTAIN TRUTH. There are 10 syllables in each line (but in this poem it is not regularly iambic pentameter, which means 1 stressed + 1 unstressed syllable x 5)

From Glasgow Sonnets (i) The OCTETpresents a PROBLEM – this is a series of statements that make us think about a CERTAIN TRUTH. What is this problem? A mean wind wanders through the backcourt trash. Hackles on puddles rise, old mattresses puff briefly and subside. Play-fortresses of brick and bric-a-brac spill out some ash. Four storeys have no windows left to smash, but in the fifth a chipped sill buttresses mother and daughter the last mistresses of that black block condemned to stand, not crash. Around them the cracks deepen, the rats crawl. The kettle whimpers on a crazy hob. Roses of mould grow from ceiling to wall. The man lies late since he has lost his job, smokes on one elbow, letting his coughs fall thinly into an air too poor to rob. The VOLTA – the beginning of the sestet – marks a CHANGE IN TONE. What comment is Morgan making? The SESTET– makes a COMMENT ON THE PROBLEM.

What other division is there between the Octet and the Sestet? Think about the subject matter of each one.

From Glasgow Sonnets (i) The first quatrain (lines 1-4) describe the backcourt. The OCTET describes the OUTSIDE VIEW. A mean wind wanders through the backcourt trash. Hackles on puddles rise, old mattresses puff briefly and subside. Play-fortresses of brick and bric-a-brac spill out some ash. Four storeys have no windows left to smash, but in the fifth a chipped sill buttresses mother and daughter the last mistresses of that black block condemned to stand, not crash. Around them the cracks deepen, the rats crawl. The kettle whimpers on a crazy hob. Roses of mould grow from ceiling to wall. The man lies late since he has lost his job, smokes on one elbow, letting his coughs fall thinly into an air too poor to rob. The second quatrain (lines 5-8) describe the building. 1st 3 lines of the sestet (end stopped) describe the flat. The SESTET describes the INSIDE VIEW. 2nd three lines of the sestet (run on) describe the man.

Why does Morgan use the sonnet form for this poem? • We usually think of sonnets as having a beautiful form, and they are normally associated with the subject of love. • However, Morgan has chosen to use this form in order to create a stark contrast between what we expect in a sonnet, and what can be seen as the extremely shocking content of this sonnet about poverty. • This has the effect of forcefully emphasising the poem’s content.

Now we are going to look at the use of literary techniques in the poem.

From Glasgow Sonnets (i) Word Choice Description of the tenement itself Words associated with decay A mean wind wanders through the backcourt trash. Hackles on puddles rise, old mattresses puff briefly and subside. Play-fortresses of brick and bric-a-brac spill out some ash. Four storeys have no windows left to smash, but in the fifth a chipped sill buttresses mother and daughter the last mistresses of that black block condemned to stand, not crash. Around them the cracks deepen, the rats crawl. The kettle whimpers on a crazy hob. Roses of mould grow from ceiling to wall. The man lies late since he has lost his job, smokes on one elbow, letting his coughs fall thinly into an air too poor to rob. Words associated with rubbish Description of the tenants Words associated with disease You need to think about the CONNOTATIONS of each word/phrase , but overall the word choice is very negative , suggesting THEMES such as neglect, poverty, ill health and decay.

From Glasgow Sonnets (i) Personification What is the effect of the personification in the poem? A mean wind wanders through the backcourt trash. Hackles on puddles rise, old mattresses puff briefly and subside. Play-fortresses of brick and bric-a-brac spill out some ash. Four storeys have no windows left to smash, but in the fifth a chipped sill buttresses mother and daughter the last mistresses of that black block condemned to stand, not crash. Around them the cracks deepen, the rats crawl. The kettle whimpers on a crazy hob. Roses of mould grow from ceiling to wall. The man lies late since he has lost his job, smokes on one elbow, letting his coughs fall thinly into an air too poor to rob. It is used to dramatise the setting , creating a mood of THREAT (‘mean wind’, ‘hackles rise’ etc) or DESPAIR (‘puff briefly’, ‘whimpers’ etc)

From Glasgow Sonnets (i) Metaphor What is the effect of the metaphor used in the poem? A mean wind wanders through the backcourt trash. Hackles on puddles rise, old mattresses puff briefly and subside. Play-fortresses of brick and bric-a-brac spill out some ash. Four storeys have no windows left to smash, but in the fifth a chipped sill buttresses mother and daughter the last mistresses of that black block condemned to stand, not crash. Around them the cracks deepen, the rats crawl. The kettle whimpers on a crazy hob. Roses of mould grow from ceiling to wall. The man lies late since he has lost his job, smokes on one elbow, letting his coughs fall thinly into an air too poor to rob. The images suggest decay spreading , adding to the sense of threat.

From Glasgow Sonnets (i) Sound Techniques Sound techniques emphasise the words / ideas they are attached to. A mean wind wanders through the backcourt trash. Hackles on puddles rise, old mattresses puff briefly and subside. Play-fortresses of brick and bric-a-brac spill out some ash. Four storeys have no windows left to smash, but in the fifth a chipped sill buttresses mother and daughter the last mistresses of that black block condemned to stand, not crash. Around them the cracks deepen, the rats crawl. The kettle whimpers on a crazy hob. Roses of mould grow from ceiling to wall. The man lies late since he has lost his job, smokes on one elbow, letting his coughs fall thinly into an air too poor to rob.

From Glasgow Sonnets (i) Sound Techniques Alliteration A mean wind wanders through the backcourt trash. Hackles on puddles rise, old mattresses puff briefly and subside. Play-fortresses of brick and bric-a-brac spill out some ash. Four storeys have no windows left to smash, but in the fifth a chipped sill buttresses mother and daughter the last mistresses of that black block condemned to stand, not crash. Around them the cracks deepen, the rats crawl. The kettle whimpers on a crazy hob. Roses of mould grow from ceiling to wall. The man lies late since he has lost his job, smokes on one elbow, letting his coughs fall thinly into an air too poor to rob. What is the effect of alliteration in the poem? The soft ‘w’ highlights the aimlessness of the wind. The plosive ‘b’ highlights the harsh, sinister description of the block of flats and its surroundings.

From Glasgow Sonnets (i) Sound Techniques Onomatopoeia A mean wind wanders through the backcourt trash. Hackles on puddles rise, old mattresses puff briefly and subside. Play-fortresses of brick and bric-a-brac spill out some ash. Four storeys have no windows left to smash, but in the fifth a chipped sill buttresses mother and daughter the last mistresses of that black block condemned to stand, not crash. Around them the cracks deepen, the rats crawl. The kettle whimpers on a crazy hob. Roses of mould grow from ceiling to wall. The man lies late since he has lost his job, smokes on one elbow, letting his coughs fall thinly into an air too poor to rob. What is the effect of onomatopoeia in the poem? It dramatises the sounds.

From Glasgow Sonnets (i) Sound Techniques Assonance A mean wind wanders through the backcourt trash. Hackles on puddles rise, old mattresses puff briefly and subside. Play-fortresses of brick and bric-a-brac spill out some ash. Four storeys have no windows left to smash, but in the fifth a chipped sill buttresses mother and daughter the last mistresses of that black block condemned to stand, not crash. Around them the cracks deepen, the rats crawl. The kettle whimpers on a crazy hob. Roses of mould grow from ceiling to wall. The man lies late since he has lost his job, smokes on one elbow, letting his coughs fall thinly into an air too poor to rob. What is the effect of assonance in the poem? ‘Roses of mould grow’ - suggests mould spreading ‘too poor to rob’ - highlights poverty

From Glasgow Sonnets (i) Sound Techniques End rhyme A mean wind wanders through the backcourt trash. Hackles on puddles rise, old mattresses puff briefly and subside. Play-fortresses of brick and bric-a-brac spill out some ash. Four storeys have no windows left to smash, but in the fifth a chipped sill buttresses mother and daughter the last mistresses of that black block condemned to stand, not crash. Around them the cracks deepen, the rats crawl. The kettle whimpers on a crazy hob. Roses of mould grow from ceiling to wall. The man lies late since he has lost his job, smokes on one elbow, letting his coughs fall thinly into an air too poor to rob. What is the effect of the use of end rhyme in the poem? It emphasises decay and destruction.

From Glasgow Sonnets (i) Enjambment One line runs on to the next with no end punctuation. A mean wind wanders through the backcourt trash. Hackles on puddles rise, old mattresses puff briefly and subside. Play-fortresses of brick and bric-a-brac spill out some ash. Four storeys have no windows left to smash, but in the fifth a chipped sill buttresses mother and daughter the last mistresses of that black block condemned to stand, not crash. Around them the cracks deepen, the rats crawl. The kettle whimpers on a crazy hob. Roses of mould grow from ceiling to wall. The man lies late since he has lost his job, smokes on one elbow, letting his coughs fall thinly into an air too poor to rob. What is the effect of enjambment in the poem? It creates the sense of more and more signs of decay building up.

Analysis

From Glasgow Sonnets (i) Analysis The opening line establishes the THEMES of poverty, decay and hopelessness. The wind is described as ‘mean’ rather than simply ‘cold’. Personification is used to refer to the wind as if it were a cruel / unkind / unwelcomeperson seeking out people to torment. This emphasises how hostile the environment is and contributes to the unpleasant atmosphere of the poem. A mean wind wanders through the backcourt trash. Hackles on puddles rise, old mattresses puff briefly and subside. Play-fortresses of brick and bric-a-brac spill out some ash. Four storeys have no windows left to smash, but in the fifth a chipped sill buttresses mother and daughter the last mistresses of that black block condemned to stand, not crash. Around them the cracks deepen, the rats crawl. The kettle whimpers on a crazy hob. Roses of mould grow from ceiling to wall. The man lies late since he has lost his job, smokes on one elbow, letting his coughs fall thinly into an air too poor to rob.

From Glasgow Sonnets (i) Analysis Personification: as with the air, the puddles are given a personality. In this case they are angry / aggressive. The description ‘hackles on puddles rise’ suggests that the ripples in the puddles caused by the wind look like the hairs standing up on an animal’s neck when it is angry. This suggests violence and danger. The setting is wholly unwelcoming and even intimidating. A mean wind wanders through the backcourt trash. Hackles on puddles rise, old mattresses puff briefly and subside. Play-fortresses of brick and bric-a-brac spill out some ash. Four storeys have no windows left to smash, but in the fifth a chipped sill buttresses mother and daughter the last mistresses of that black block condemned to stand, not crash. Around them the cracks deepen, the rats crawl. The kettle whimpers on a crazy hob. Roses of mould grow from ceiling to wall. The man lies late since he has lost his job, smokes on one elbow, letting his coughs fall thinly into an air too poor to rob.

From Glasgow Sonnets (i) Analysis Personification is used again. The mattresses are worn out / finished. They appear to take their last breath before giving in. They are trash: discarded. A mean wind wanders through the backcourt trash. Hackles on puddles rise, old mattresses puff briefly and subside. Play-fortresses of brick and bric-a-brac spill out some ash. Four storeys have no windows left to smash, but in the fifth a chipped sill buttresses mother and daughter the last mistresses of that black block condemned to stand, not crash. Around them the cracks deepen, the rats crawl. The kettle whimpers on a crazy hob. Roses of mould grow from ceiling to wall. The man lies late since he has lost his job, smokes on one elbow, letting his coughs fall thinly into an air too poor to rob.

From Glasgow Sonnets (i) Analysis The ‘trash’ of the opening line is explored. The landscape is punctuated with a jumble of rubbish. Imagery: The piles of bricks and old rubbish (bric-a-brac) are described as ‘play-fortresses’. This suggests that the children’s games are connected to violence and aggression, possibly suggesting the beginnings of gang warfare. This implies that the people on the estate are under siege. Alliteration: The harsh sounds of ‘brick’ and ‘bric-a-brac’ reflect the violence they are used for. A mean wind wanders through the backcourt trash. Hackles on puddles rise, old mattresses puff briefly and subside. Play-fortresses of brick and bric-a-brac spill out some ash. Four storeys have no windows left to smash, but in the fifth a chipped sill buttresses mother and daughter the last mistresses of that black block condemned to stand, not crash. Around them the cracks deepen, the rats crawl. The kettle whimpers on a crazy hob. Roses of mould grow from ceiling to wall. The man lies late since he has lost his job, smokes on one elbow, letting his coughs fall thinly into an air too poor to rob.

From Glasgow Sonnets (i) Analysis Word choice: ‘smash’, ‘trash’ and ‘crash’ all rhyme and relate to one another. They all have connotations of destruction and decay. Together they represent something that is broken. A mean wind wanders through the backcourt trash. Hackles on puddles rise, old mattresses puff briefly and subside. Play-fortresses of brick and bric-a-brac spill out some ash. Four storeys have no windows left to smash, but in the fifth a chipped sill buttresses mother and daughter the last mistresses of that black block condemned to stand, not crash. Around them the cracks deepen, the rats crawl. The kettle whimpers on a crazy hob. Roses of mould grow from ceiling to wall. The man lies late since he has lost his job, smokes on one elbow, letting his coughs fall thinly into an air too poor to rob.

From Glasgow Sonnets (i) Analysis Word choice: “buttresses” is the first instance of something supportive / strong in the poem. (A buttress is a structure of stone or brick built against a wall to strengthen or support it.) The women of the next line appear as something standing despite the decay. A mean wind wanders through the backcourt trash. Hackles on puddles rise, old mattresses puff briefly and subside. Play-fortresses of brick and bric-a-brac spill out some ash. Four storeys have no windows left to smash, but in the fifth a chipped sill buttresses mother and daughter the last mistresses of that black block condemned to stand, not crash. Around them the cracks deepen, the rats crawl. The kettle whimpers on a crazy hob. Roses of mould grow from ceiling to wall. The man lies late since he has lost his job, smokes on one elbow, letting his coughs fall thinly into an air too poor to rob.

From Glasgow Sonnets (i) Analysis The poet describes the mother and daughter who live on the fifth floor as ‘the last mistresses’ of the tenement. This has connotations of castles, chivalry, security. This suggests the poet’s admiration, respect, sympathy and concern for the women. Structure:the mother and daughter appear in the middle of the poem and are surrounded by decay in the poem, as they are in life. A mean wind wanders through the backcourt trash. Hackles on puddles rise, old mattresses puff briefly and subside. Play-fortresses of brick and bric-a-brac spill out some ash. Four storeys have no windows left to smash, but in the fifth a chipped sill buttresses mother and daughter the last mistresses of that black block condemned to stand, not crash. Around them the cracks deepen, the rats crawl. The kettle whimpers on a crazy hob. Roses of mould grow from ceiling to wall. The man lies late since he has lost his job, smokes on one elbow, letting his coughs fall thinly into an air too poor to rob.

From Glasgow Sonnets (i) Analysis • The poet uses sound effects and word choice to help to create a particularly bleak impression in this line. • Sound: • alliteration of ‘bl’ and ‘ck / c’ - harsh sounds are bleak and contribute to the tough / unforgiving picture. • assonance – repeated ‘a’ sound is gloomy. A mean wind wanders through the backcourt trash. Hackles on puddles rise, old mattresses puff briefly and subside. Play-fortresses of brick and bric-a-brac spill out some ash. Four storeys have no windows left to smash, but in the fifth a chipped sill buttresses mother and daughter the last mistresses of that black block condemned to stand, not crash. Around them the cracks deepen, the rats crawl. The kettle whimpers on a crazy hob. Roses of mould grow from ceiling to wall. The man lies late since he has lost his job, smokes on one elbow, letting his coughs fall thinly into an air too poor to rob.

From Glasgow Sonnets (i) Analysis Word choice: ‘Condemned’ and ‘block’ have connotations of execution. ‘Condemned to stand’ – oxymoronsuggesting that the block is sentenced to the protracted agony of a living death, rather than a merciful end by execution / demolition. For the ‘block’ the fact that it remains is seen as a negative situation: it would be better just to fall, to give in. A mean wind wanders through the backcourt trash. Hackles on puddles rise, old mattresses puff briefly and subside. Play-fortresses of brick and bric-a-brac spill out some ash. Four storeys have no windows left to smash, but in the fifth a chipped sill buttresses mother and daughter the last mistresses of that black block condemned to stand, not crash. Around them the cracks deepen, the rats crawl. The kettle whimpers on a crazy hob. Roses of mould grow from ceiling to wall. The man lies late since he has lost his job, smokes on one elbow, letting his coughs fall thinly into an air too poor to rob.

From Glasgow Sonnets (i) Analysis Structure & Imagery: after the brief, hopeful idea of something holding out against the decay, the volta(turn) of the sonnet, returns to pessimistic hopelessness. Those who remain are surrounded by creeping decay and vermin. The observer sees that their eventual destruction in inevitable. A mean wind wanders through the backcourt trash. Hackles on puddles rise, old mattresses puff briefly and subside. Play-fortresses of brick and bric-a-brac spill out some ash. Four storeys have no windows left to smash, but in the fifth a chipped sill buttresses mother and daughter the last mistresses of that black block condemned to stand, not crash. Around them the cracks deepen, the rats crawl. The kettle whimpers on a crazy hob. Roses of mould grow from ceiling to wall. The man lies late since he has lost his job, smokes on one elbow, letting his coughs fall thinly into an air too poor to rob.

From Glasgow Sonnets (i) Analysis Ambiguity: The ‘cracks’ are ambiguous. They are both literal – cracks in the building – and metaphorical – cracks in society. The ‘rats’ could also be both real and metaphorical (representing social problems / disease / poverty). A mean wind wanders through the backcourt trash. Hackles on puddles rise, old mattresses puff briefly and subside. Play-fortresses of brick and bric-a-brac spill out some ash. Four storeys have no windows left to smash, but in the fifth a chipped sill buttresses mother and daughter the last mistresses of that black block condemned to stand, not crash. Around them the cracks deepen, the rats crawl. The kettle whimpers on a crazy hob. Roses of mould grow from ceiling to wall. The man lies late since he has lost his job, smokes on one elbow, letting his coughs fall thinly into an air too poor to rob.

From Glasgow Sonnets (i) Analysis Personification & Onomatopoeia: ‘Whimpers’ suggests a person or animal crying out in pain, contrasting with the angry and aggressive personalities given to the air and the puddle. The use of the word ‘whimpers’ helps to contribute to the description of the room and its occupants; it suggests that the kettle is expressing the misery of the room’s occupants. This adds to the dreary, pathetic impression of the room and emphasises the vulnerable / sad condition of the occupants, suggesting hopelessness / helplessness. A mean wind wanders through the backcourt trash. Hackles on puddles rise, old mattresses puff briefly and subside. Play-fortresses of brick and bric-a-brac spill out some ash. Four storeys have no windows left to smash, but in the fifth a chipped sill buttresses mother and daughter the last mistresses of that black block condemned to stand, not crash. Around them the cracks deepen, the rats crawl. The kettle whimpers on a crazy hob. Roses of mould grow from ceiling to wall. The man lies late since he has lost his job, smokes on one elbow, letting his coughs fall thinly into an air too poor to rob.

From Glasgow Sonnets (i) Analysis Imagery & Juxtaposition: Roses represent life and are considered beautiful. This image creates a juxtaposition / contrast between beauty and decay. The fact that they are ‘roses of mould’ highlights the absence of anything positive / pleasant. ‘Mould’ obviously shows the decay that is present. A mean wind wanders through the backcourt trash. Hackles on puddles rise, old mattresses puff briefly and subside. Play-fortresses of brick and bric-a-brac spill out some ash. Four storeys have no windows left to smash, but in the fifth a chipped sill buttresses mother and daughter the last mistresses of that black block condemned to stand, not crash. Around them the cracks deepen, the rats crawl. The kettle whimpers on a crazy hob. Roses of mould grow from ceiling to wall. The man lies late since he has lost his job, smokes on one elbow, letting his coughs fall thinly into an air too poor to rob.

From Glasgow Sonnets (i) Analysis • Imagery:The poem ends by focusing on one man in bed who seems to resemble his surroundings: • ‘coughs fall thinly’ • He is out of work / isnot being used • He seems depressed / is of no value A mean wind wanders through the backcourt trash. Hackles on puddles rise, old mattresses puff briefly and subside. Play-fortresses of brick and bric-a-brac spill out some ash. Four storeys have no windows left to smash, but in the fifth a chipped sill buttresses mother and daughter the last mistresses of that black block condemned to stand, not crash. Around them the cracks deepen, the rats crawl. The kettle whimpers on a crazy hob. Roses of mould grow from ceiling to wall. The man lies late since he has lost his job, smokes on one elbow, letting his coughs fall thinly into an air too poor to rob. - the man is weak and decrepit,like the crumbling building he lives in. , therefore is poor like the building. , like the building.

From Glasgow Sonnets (i) Analysis Alliteration: ‘lies late…lost’ - draws attention to his sadness and lack of purpose. The picture we are given of the man is one of hopelessness / lifelessness. The man has ‘fallen’ as he no longer stands against the decay. A mean wind wanders through the backcourt trash. Hackles on puddles rise, old mattresses puff briefly and subside. Play-fortresses of brick and bric-a-brac spill out some ash. Four storeys have no windows left to smash, but in the fifth a chipped sill buttresses mother and daughter the last mistresses of that black block condemned to stand, not crash. Around them the cracks deepen, the rats crawl. The kettle whimpers on a crazy hob. Roses of mould grow from ceiling to wall. The man lies late since he has lost his job, smokes on one elbow, letting his coughs fall thinly into an air too poor to rob.

From Glasgow Sonnets (i) Analysis Personification: the air itself becomes something pathetic / destitute. The speaker’s observation concludes that the scene is indeed one of utter poverty, hopelessness and decay. Enjambment of this last line (‘coughs fall / thinly into an air too poor to rob.’) suggests continuity of situation. A mean wind wanders through the backcourt trash. Hackles on puddles rise, old mattresses puff briefly and subside. Play-fortresses of brick and bric-a-brac spill out some ash. Four storeys have no windows left to smash, but in the fifth a chipped sill buttresses mother and daughter the last mistresses of that black block condemned to stand, not crash. Around them the cracks deepen, the rats crawl. The kettle whimpers on a crazy hob. Roses of mould grow from ceiling to wall. The man lies late since he has lost his job, smokes on one elbow, letting his coughs fall thinly into an air too poor to rob.

– the voice of the poet Tone Bleak Sombre Despairing - Poverty and the effect it has on the psyche of those who experience it: Themes • Alienation • Urban decay • Slum life • Deprivation • Hopelessness • Isolation Imageryand figures of speech in the poem support these themes: harsh alliteration, personification, onomatopoeia, symbolism, connotations, paradox.

Mood / message • Pessimistic - sense of hopelessness created through effective imagery / language. • The tone is sympathetic – the harsh details reflect the harsh realities of life for the poor. • Social comment – he is showing us the REAL Glasgow. It is not the sentimental, romantic, ‘poetic’ city of culture. He is showing us the irony of the unseen reality. • The poem was written to highlight social problems. It is a political critique of an uncaring system / policies. • The man has no name: he is anonymous, sub-human, invisible and does not count. He is symbolic, he could be anyone, he represents ‘everyman’.

‘Glasgow Sonnets (i)’ Edwin Morgan