1. ‘Glasgow Sonnets (i)’ Edwin Morgan

2. 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. 5Four 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. 10The 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)

3. First of all, we are going to look at the form and structure of the poem.

4. This poem is written in the form of a SONNET. The sonnet is 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 14 th Century. In Petrarchan sonnets: The first 8 lines are known as the OCTET. The octet has the rhyme scheme ABBA The last 6 lines are known as the SESTET.The sestet has the rhyme scheme CDCDCD

5. 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. 5Four 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. 10The 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) A B B A A B B A C D C D C D The rhyming scheme does not create a rhythm due to the mixture of run on lines (enjambment) and end stopped lines in the poem.

6. 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. 5Four 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. 10The 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) A B B A A B B A C D C D C D What is the effect of the use of regular rhyme in the poem? The poet uses rhyme to make a point about poverty. It will never change. Those who experience it are stuck.

7. 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) In Petrarchan sonnets: The OCTET presents 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.

8. 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) The OCTET presents a PROBLEM – this is a series of statements that make us think about a CERTAIN TRUTH. What is this problem? The VOLTA – the beginning of the sestet – marks a CHANGE IN TONE. The SESTET– makes a COMMENT ON THE PROBLEM. What comment is Morgan making?

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

10. 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) The OCTET describes the OUTSIDE VIEW. The SESTET describes the INSIDE VIEW. The first quatrain (lines 1-4) describe the backcourt. The second quatrain (lines 5-8) describe the building. 1 st 3 lines of the sestet (end stopped) describe the flat. 2 nd three lines of the sestet (run on) describe the man.

11. 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.

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

13. 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) Word Choice Description of the tenement itself Words associated with decay 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.

14. 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) Personification What is the effect of the personification in the poem? It is used to dramatise the setting or DESPAIR (‘puff briefly’, ‘whimpers’ etc), creating a mood of THREAT (‘mean wind’, ‘hackles rise’ etc)

15. 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) Metaphor What is the effect of the metaphor used in the poem? The images suggest decay spreading, adding to the sense of threat.

16. 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 Sound techniques emphasise the words / ideas they are attached to.

17. 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 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.

18. 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 Onomatopoeia What is the effect of onomatopoeia in the poem? It dramatises the sounds.

19. 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 Assonance What is the effect of assonance in the poem? ‘Roses of mould grow’ - suggests mould spreading ‘too poor to rob’ - highlights poverty

20. 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 End rhyme What is the effect of the use of end rhyme in the poem? It emphasises decay and destruction.

21. 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) Enjambment One line runs on to the next with no end punctuation. What is the effect of enjambment in the poem? It creates the sense of more and more signs of decay building up.

22. Analysis

23. 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) 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 / unwelcome person seeking out people to torment. This emphasises how hostile the environment is and contributes to the unpleasant atmosphere of the poem. Analysis

24. 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) 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. Analysis

25. 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) Personification is used again. The mattresses are worn out / finished. They appear to take their last breath before giving in. They are trash: discarded. Analysis

26. 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) 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. Analysis

27. 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) 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. Analysis

28. 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) 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. Analysis

29. 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) 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. Analysis

30. 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) 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. Analysis

31. 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) Word choice: ‘Condemned’ and ‘block’ have connotations of execution. ‘Condemned to stand’ – oxymoron suggesting 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. Analysis

32. 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) 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. Analysis

33. 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) 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). Analysis

34. 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) 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. Analysis

35. 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) 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. Analysis

36. 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) 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 / is not being used He seems depressed / is of no value Analysis - the man is weak and decrepit, like the crumbling building he lives in., therefore is poor like the building., like the building.

37. 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) 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. Analysis

38. 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) 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. Analysis

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

40. 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’.