Warming Her Pearls Full Text. My mistress 2 bids me wear them, warm them, until evening 3 when I'll brush her hair. At six, I place them 4 round her cool, white throat. All day I think of her, 5 resting in the Yellow Room, contemplating silk 6 or taffeta, which gown tonight?
She fans herself 7 whilst I work willingly, my slow heat entering 8 each pearl. Slack on my neck, her rope. I dream about her 10 in my attic bed; picture her dancing 11 with tall men, puzzled by my faint, persistent scent 12 beneath her French perfume, her milky stones.
In her looking-glass 16 my red lips part as though I want to speak. Her carriage brings her home. I see 18 her every movement in my head Undressing, 19 taking off her jewels, her slim hand reaching 20 for the case, slipping naked into bed, the way 21 she always does And I lie here awake, 22 knowing the pearls are cooling even now 23 in the room where my mistress sleeps.
All night 24 I feel their absence and I burn. Lines It gathers to a greatness, like the ooze of oil Crushed. Everything you need for every book you read. The way the content is organized and presented is seamlessly smooth, innovative, and comprehensive.
Home About Story Contact Help. Contrastingly, the form of Epithalamium is a traditional Shakespearean sonnet which is evermore associated with love poetry. The love presented by Lochhead is much more traditional than what Duffy writes about, so it is fitting that Epithalamium has a more traditional form. Both poems have carefully constructed stanzas.
Epithalamium uses two stanzas, one octet and a sestet, whereas Warming Her Pearls has six stanzas, each containing four lines. This intricate construction of both poems gives a sense of meticulous contemplation of love. Contrastingly, Warming Her Pearls does not have any rhyme scheme. In terms of punctuation, in Warming Her Pearls Duffy utilises her diction for maximum effect. There is extensive use of enjambment which conveys urgency as it links the women, suggesting that the speaker longs for joining and completion of her love.
Full stops are placed at various points of the poem, only four of them at the end of a line. There are ten other full stops or question marks at various points of lines; this is unusual for a poem. To conclude, Warming Her Pearls by Carol Ann Duffy and Epithalamium by Liz Lochhead both effectively use language to convey impressions of love that are very different in situation but emotionally similar. They capture the intensity of emotion that love brings, regardless of who it is directed at.
Accessed November 11, Download paper. Essay, Pages 6 words. Don't use plagiarized sources. Get your custom essay on. Get quality help now. Verified writer. Deadline: 10 days left. The poem begins by describing the pearls and their place on the speaker's neck. The structure of the first sentence juxtaposes the ownership of the pearls with their location. By identifying the "her" of the first sentence as "My mistress" in the second, the speaker clarifies the relationship between the two.
She describes how she wears the pearls for her mistress until evening, when the speaker will brush her mistress's hair. The speaker 's mind then turns to her thoughts throughout the day, which seem dedicated to imagining what her mistress is thinking.
She imagines her mistress resting in what she calls the Yellow Room, deciding what dress to wear for the evening. This stanza ends by describing the necklace as a rope, slack but very present around the speaker's neck. In the next stanza, the speaker is again fantasizing about her mistress, imagining the party, where the men she dances with are perplexed by the speaker's scent under her perfume. The pearl necklace again makes an appearance, bearing the speaker's smell.
The next stanza begins with the speaker dusting her mistress's shoulders with a rabbit foot. The speaker perceives the moment as sexually charged, looking at her mistress blush and imagining her sigh.
She catches a glimpse of herself in the mirror and sees that sexuality reflected in her "red lips," which "part as though I want to speak.
We then jump to nighttime, after the party has ended. The speaker still imagines her. The speaker turns her mind to the pearls, which still are losing some of her warmth in her mistress's room. The speaker "burns" with the pearls' absence. The voice is just slightly anachronistic; Duffy does not go out of her way to make the voice clearly that of a different era.
Nevertheless, the poem's form reflects the severity of the era, while the language and the speaker push the boundaries of that severity. In this poem, the pearls take their importance by acting as the site of intimacy between the speaker and her mistress.
To the speaker, they are proof of their relationship. In the first stanza, she describes her mistress's throat as "cool" and "white," in contrast to the warmth of the speaker, which heats the pearls and improves their luster, preparing them to be worn later by the mistress.
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