"Unknown Citizen"

Explication of “The Unknown Citizen”

Was he really free? Was he really happy? Those are the questions the readers of W.H. Auden’s “The Unknown Citizen” ask themselves at the conclusion of the poem. The rather simple-looking title alludes to the “Tomb of the Unknown Soldier,” which many war veterans are buried after being found unidentified. Although this poem is not necessarily about that particular tomb, title sets the tone for a variety of unknowns, in which the clueless outside world looks into the complicated mystery of a seemingly not-so-complicated man, only knowing what “he was found by the Bureau of Statistics to be.” This speaker of the poem is analyzing this mystery, but the premise of the speaker and the ambiguity of the ending imply the existence of faults that lie within the public’s dependence of government agencies to make assumptions of someone’s life. Written after World War I, the poem is a satire that blames the growing prowess of state governments for causing innocent citizens to seem like numbers instead of souls.

Although “Producers Research,” “High-Grade Living,” and “Greater Community” are all fictional, they are easily recognizable as distinct government agencies in “The Unknown Citizen.” Also, “The Press” easily stands for the collective that is composed of the entire media. The reports and statistics that these agencies come up with are consistent with the “Modern Man”, a stereotype that represents the average American man, replaceable with any particular name. All of these reports cite that this unknown citizen was a war veteran who never did anything wrong because “had anything been wrong, we should certainly have heard.” An overstatement exists when this man’s typicality makes him “in the modern sense…a saint,” but when in reality the indistinctness of his life makes him far from one. What we collect from the references to state agencies is that the facts show that he should have been happy, but inherently the public cannot make such assumptions off of facts, as numbers and statistics only skim the surface when it comes to explaining the character and predicament of someone’s life.

The innocence that surrounds this unknown man is what makes him “unknown” in the first place. In a modern society, in which the media persuades the public to concentrate on those who are always up to no good, those “against whom there [is] no official complaint” blend into the vast majority that go through the motions of their daily lives, as opposed to the minority that becomes the center of attention through their unlawful acts. “When there was peace, he was for peace; when there was war, he went,” the speaker states. The unknown man, regardless of whatever hardships he may have encountered as a result of his time at war, went with the flow of the crowd, and when that is the case, why would the government suspect anything to be wrong with him?

The quantitative findings of this man’s life from the outside world fail to take into account what happens behind closed doors. Sure, he “worked in the factory and never got fired” and “was popular with his mates,” but that is not enough to declare him free and happy. Trauma and anger often exist with war veterans as they try to acclimate themselves back to the civilian atmosphere, and it is entirely possible for the unknown citizen to have these feelings locked up inside of him, as the civilian world after the War pressured veterans into acting like the gruesome combat and bloodshed was not as bad as it was. Also, the attention of the speaker may have been commanded because of the possible mysterious death or disappearance of the unknown citizen. He had an average job, an average family, an average life, but statistics could never classify someone’s soul as average, which is where the satire comes into play.

The unknown citizen, plainly known as codename JS/07/M/378, is obviously more than just an unknown citizen, but in a society used to basing conclusions off of cold, hard facts, the speaker represents the outside world’s cluelessness that results from such dependence. This satire brings to light the predicament that many war veterans face, the lack of recognition that results from either their placement in the Tomb of the Unknown or a life as an unknown.

"Batter My Heart"

Power Struggle

Reason versus religion; from Galileo’s time to the modern age, the notion that God and science are mutually exclusive entities has created conflicts and commanded the thoughts of historians, writers, and philosophers alike. Poet John Donne is no exception. Likely inspired by the tension between skepticism and faith illustrated in his own life, Donne crafted a group of religious poems referred to as the “Holy Sonnets.” In one such sonnet entitled “Batter my heart, three-personed God,” Donne utilizes the tone of an intimate religious plea, employing strong metaphors, thought-provoking paradoxes, coarse language, and surprising motifs to express the speaker’s desperate desire to overcome his struggle with faith and devote himself to God.

In the first quatrain of the sonnet, Donne introduces the fundamental theme of the poem through the use of metaphors, puns, and paradoxical language. Throughout the first four lines, the speaker asks a “three-personed God” to paradoxically “o’erthrow,” “break,” and “burn” him in order to “make [him] new” (1,3,4). In doing so, the speaker reveals his desire for God to conquer his heart so he can become a man of faith. The address to the three-personed God, however, does more than just outline the meaning of the quatrain. The reference alludes to the Father, the Son, and the Holy Spirit of the Christian holy trinity, and the words and parallel sentence structure that Donne uses in lines two and four further clarify the metaphor. The second verbs found in lines two and four, “breathe” and “blow” respectively, when translated into Latin become spirar; when understood as an etymological pun, it becomes evident that with these words, Donne is referencing the Holy Spirit whose name seems to share the Latin root (2,4). Similarly, the third verbs found in lines two and four function as another pun and further aid in the unraveling of the metaphor. Because the sun both shines and burns, it is likely that these verbs refer to the Son of the holy trinity.

Just as Donne makes critical comparisons in the first lines of the poem, in the second quatrain he again applies a strong metaphor to convey the speaker’s grappling with faith. Saying, “I, like an usurped town, to another due, / Labor to admit you,” the speaker expresses his struggle to allow God into his heart (5,6). Donne then extends the metaphor to encompass the role of reason in the speaker’s life. Comparing reason to a viceroy that rules on behalf of God, the speaker admits that although logic and skepticism generally oppose and dismiss religion, reason not only “proves weak or untrue” and does not defend him from God, but also is often provided by faith (8). In other words, the second quatrain uses complex comparisons to illustrate the power struggle between the speaker’s desire to permit God into his life and his inclination towards reason and skepticism.

Donne utilizes the ensuing sestet to expand upon this idea and fully develop the theme and meaning of the work as a whole. Armed with a unique motif and a paradox enriched by violating language and dually-denoted words, Donne expresses the speaker’s passionate desire to love God and his prior skeptical outlook that hinders him from doing so. Introducing a marriage motif, the speaker refers to reason as a spouse and enemy of God, saying, “But am betrothed unto your enemy; / Divorce me, untie or break that knot again” (10,11). In this way, the speaker explains that he is bound to his previous beliefs and wants God to sever the ties so that he can become a man of faith. He continues to express this desire through an interesting paradox. Donne writes, “Take me to you, imprison me, for I, / Except you enthrall me, never shall be free, / Nor ever chaste, except you ravish me” (13-14). The paradox of becoming free by being enthralled and becoming chaste as a result of being ravished is enhanced by the multiple denotations of the words enthrall and ravish. Because enthrall can mean to both capture the attention of and to imprison, it is possible that Donne is referring to both mental and physical freedom in these final lines. Similarly, ravish implies both being filled with intense delight and being raped, and as a result, the paradox can be resolved as a graphic expression of the speaker’s desire to know God.

A study of Donne’s life reveals that a shift from reason to faith in God and the inherent accompanying struggle is a subject that he knows well. Early in his life, Donne himself held an early belief in skepticism. After a burdensome time in his life during which he suffered from numerous illnesses, financial strain, and the loss of loved ones, however, Donne’s early logical beliefs gave way to a firm faith in God and in the Bible. Throughout the work, Donne calls upon raw diction, complex paradoxes, extended metaphors, and effective motifs to express the significance of each portion of the sonnet and ultimately the meaning of the poem as a whole.

"Barbie Doll"

“Barbie Doll”
The poem “Barbie Doll” has a title that is meant to be the antithesis of the poem that follows. A Barbie doll is so simplistic and ubiquitous that the mere two-word description tells all that needs to be said about the object. This image of such a one-dimensional object serves to emphasize the complexity of the poem’s subject. The contrast between the poem’s subject and a Barbie doll is a recurring theme in this poem, and the poet uses it to show that not every female is cut out to fill the mold of society’s ideal Barbie woman.

“Barbie Doll” is arranged chronologically. This is shown in the mention of the subject being “born” in the first stanza and being “In the casket” in the last stanza. The first stanza focuses on the subject’s childhood. In the first line, it is mentioned that the subject was “born as usual.” This is the first of many assertions that she is perfectly normal and that society’s expectations, though usually considered to be the norm, are actually ridiculous. The subject is then “presented dolls… / and… stoves and irons.” Whoever presented her these things had the motive of impressing upon her society’s cut-out role for her: that of a housewife. The image of “lipsticks the color of cherry candy” combines visual and gustatory imagery along with alliteration, perhaps to invoke a female reader’s past experiences with that sort of lip gloss. After the conclusion of line 4, the subject is hit hard with the harsh consequences of failing to have the sort of body that society desires. The use of the word “magic” in the subsequent description of puberty provides the double meaning of both a physical transformation and a strange mystique. Based on what follows, it is used ironically, betraying the normally positive connotation of the word. “A classmate,” used in this instance as a metonymy for the rest of society, “said: / You have a great big nose and fat legs.” This stanza sets a foundation for the rest of the poem by showing that the subject is normal in her own eyes but unusual in society’s point of view.

The second stanza moves to a later point in the subject’s life. Judging by the mention of an “abundant sexual drive,” this is probably adolescence. This stanza has the same general idea as the first one, describing the subject as “healthy” and “intelligent” and having “strong arms and back, / abundant sexual drive and manual dexterity.” All of the qualities that the poet assigns to the subject are desirable, but, despite all of these redeeming traits, “She went to and fro apologizing” for her “fat nose on thick legs.” This time around, society is represented by “everyone.” This continues the trend of all of the people mentioned in the poem having a lack of individuality, contributing to the notion that society would prefer everyone to be the same. This stanza provides a transition from childhood to adulthood while showing that society’s attitudes toward the subject remain the same despite the change in her age.

The third stanza sticks to the theme of society’s expectations being unattainable. The demands become more ridiculous, urging her to both “play coy” and “come on hearty” at the same time, revealing an inherent paradox. Society also tells the subject to “Exercise, diet, smile and wheedle.” She’s supposed to engage in arduous activities while maintaining a happy disposition that suggests that she’s enjoying her life. Eventually, that happy disposition wears out “like a fan belt.” This image of a fan belt is effective not only in reminding the reader of what happens to such a tool after repeated wear and tear but also in placing the subject in the context of an engine or some other object normally associated with men. This masculine image flies in the face of all the work she’s been outwardly displaying in order to try to fit into the role of the ideal woman, showing a clear conflict between the subject’s external forced actions and internal thoughts and feelings. This burning out results in the subject “cut[ting] off her nose and her legs / and offer[ing] them up.” This could be interpreted in one of two ways. In one interpretation, she could have committed a gruesome suicide, dismembering her body by removing her troublesome nose and legs. In another interpretation, she could have “offered them up” to a plastic surgeon, finally caving in to society’s demands and deciding to fulfill the role of a Barbie woman. In either situation, the gap between this offering and the upcoming description of the subject in her casket represents the end of a life: either the subject’s actual physical life or her life as an individual. The third stanza is the climax of the poem, and it shows how society caused the either literal or figurative death of an unfortunate woman.

The final stanza focuses on the final product of society’s effect on the subject as she lies dead. She’s blessed with “satin,” “cosmetics,” and even a “turned-up putty nose” that society would be proud of for its cold arrogance. The colors of the “pink and white nightie” are an allusion to the signature colors of the Barbie brand, hinting at the subject’s full indoctrination. This is confirmed when “everyone” says that “she look[s] pretty.” At this point, the poet chooses to end the poem on an ironic note, deeming this “a happy ending” for the subject. This has the effect of making the reader want to disagree with the outrageous statement posed before them, helping the poet to prove her point. The last stanza drives home the point that was touched on at the end of the third stanza; society only looks favorably upon this woman after her death.

It’s impossible for every woman to fulfill the demands of a society that wants everyone to look like a Barbie doll. In some cases, death is the only thing that can allow a woman to fit into this ridiculous role. If the rules by which women are supposed to live cause some of them to die, those rules need to be changed. This poem calls for fundamental change in what society expects from women.

"Design"

The tragedy of the loss of a loved one, the horror of poison gas, and the monstrosity of trench warfare led Robert Frost to a grim outlook on life that is reflected in his poem, “Design.” Written in the wake of Frost’s son’s death and in the midst of WWI, the poem’s violent interaction between a spider and a moth on nature’s stage raises questions regarding the presence of evil and divine power in life and ultimately serves as a microcosm for the conflicts of the world.

Frost’s poem is split into two stanzas: an opening eight-line stanza and a closing six-line stanza, and for a poem entitled “Design,” the basic structure is surprisingly unorganized. The word “design” often has a connotation of organization and structure; thus, this poem is a paradox in itself. On the other hand, the word design also has a connotation of intent—if something is made by design, it is as it is supposed to be. A hybrid of a Shakespearean sonnet and free verse, “Design” contains fourteen lines but has no apparent quatrains or consistent rhyme scheme. The rhyme scheme changes from abbaaaab to acaacc with only the final two lines matching the cc rhyme scheme of a couplet in a traditional Shakespearean sonnet. This lack of structure in a poem, the most structured form of literature, strongly correlates with the poem’s theme of a general lack of structure in a seemingly structured world.

The first stanza uses imagery to paint a picture of a “dimpled spider, fat and white, / On a white heal-all, holding up a moth” (1-2). Frost develops the scene in the first stanza with images of a white spider, camouflaged on a white heal-all flower. Though heal-alls are generally blue, Frost claims that the scene is full of “Assorted characters of death and blight” (4), suggesting that the heal-all is diseased. Atop the flower, the spider, “ready to begin the morning right,” (5) holds the moth “Like a white piece of rigid satin cloth” (3) with “dead wings…like a paper kite” (8). The simile comparing the moth to satin cloth and the ironic imagery juxtaposing dead wings and a paper kite portrays the fragility and the frailty of the moth.

The second, more philosophical stanza serves as a reflection on the aforementioned scene. Consisting of only questions, the latter stanza asks, “What had that flower to do with being white,” (9), “What brought the kindred spider to that height, / Then steered the white moth thither in the night?” (11-12) and ultimately, “What but design of darkness to appall?— / If design govern in a thing so small.” (13-14). To answer the first question, the color of the flower can be attributed to its sickness. The answer to the second lies in the observation of nature. Spiders are naturally attracted to the heal-all plant, and because moths are attracted to light, the white flower existing amidst the dark night would naturally lure the moth towards it. Thus, the flower brought the two insects together. The final question, however, is unanswerable. To paraphrase, it asks, “what being would design something so evil if design reigns in things so small as a conflict between a spider and a moth?” This question is more one of a probing nature—inspiring readers to think and reflect on what higher power must exist that would create something so terrible as violence and evil.

Examining beyond just good and evil, a reader will see that this poem is full of objects described counter-intuitively. Spiders are generally thought of as spindly, black creatures, but Frost describes this particular spider as “dimpled…fat and white” (1). The heal-all—generally blue and thriving—is white and diseased. Additionally, the overall “white” motif is ironic, as white is generally dubbed the color of purity. Finally and most ironic, the moth dies on a flower called a heal-all, yet the flower fails to bring the moth back to life. Perhaps these oddities are meant to show the corruption in our world. Perhaps they are Frost’s way of conveying his idea that often things not as they appear to be.

Continuing with that idea, each of the poem’s “Assorted characters of death and blight” (4) is not only what it appears to be, but is also a symbol for something greater. If the reader views the first stanza as a symbolic microcosm for the world, the flower serves as a symbol for a divine power plagued with the sickness of corruption. Once innocent and beautiful, the divine power now watches violence and does nothing to stop it. The flower does nothing to save the fragile moth—the symbol for frail innocence—from the spider—the symbol for evil. Instead, the flower aids the spider in its hunt for prey. Not only does the flower naturally lure the moth towards its doom, but it also camouflages the portly hunter—both beings covered by a false veil of purity. To further emphasize the spider’s maleficence, Frost describes the creature as “dimpled” (1) and “fat” (1). An overweight creature, the spider represents the world’s well-fed evil that preys on innocence.

Ultimately, Frost’s “Design” raises more questions than it answers, forcing readers to closely observe what it is that he is trying to say. In the throes of WWI and after the death of a son, Frost and many others saw the world as a place of unthinkable violence, a place where men committed inconceivable murders, and a place seemingly bereft of God. Thus, from the ruins of his era rose Frost’s “Design,” and the ultimate question: “What but design of darkness to appall?—/ If design govern in a thing so small.” (13-14)

Bibliography
Frost, Robert. "Design." Perrine’s Sound & Sense. New York: Thomson Wadsworth, 2008. 153.

Poetry Papers

While all of your papers had certain strengths (and weaknesses) about them, the one posted below were particularly strong and are perhaps worth looking at as models for poetry explication. In particular, note opening paragraphs, thesis statements, and attention to details (the small stuff that adds up and contributes to the overall meaning or purpose of the poem.)

Answers to the riddles

Please post the answer to the riddle.

Riddles

Please post your riddle (but not the answer.)

Senior metaphors

Please post your metaphors for posterity.

AP Open Ended Topics for Mayor of Casterbridge

Please post your question (including the year,) your thesis, and a few examples of how you would develop the thesis. Don't worry about building on other's with this blog.

As Fate would have it...

We know that Fate/Chance/Destiny is a theme of this novel, but what of it? Ultimately what is Hardy saying about these closely connected universalities through the evolution of his story? Use examples to support your answers, but I challenge you as a class to avoid redundancy (so limit yourself somewhat so as to save room for others.)

Class Constitution

We, the people of Period Three AP Lit, will strive to:

- Enter class with an open mind
- Support each other
- Respect varying opinions
- Contribute our insight even when unsure of ourselves
- Be as prepared as possible in order to engage in meaningful conversations
- Be positive
- Go deeper into topics rather than to cover more topics
- Challenge each other nicely
- Listen to each other
- Be open to new ideas about books, poems, etc
- Participate to the best of our abilities
- Make educated comments and support ideas with evidence
- Refrain from interruptions or talking over others
- Avoid dominating
- Avoid engaging in distracting side conversations
- Avoid judging
- Avoid becoming so unfocused as to distract others
- Avoid redundancy
- Avoid senior slide
- Avoid simply staying on the surface of a topic
- Avoid taking things personally

observations

Looking to your “pointing” notes from today’s class, what observations can you make about what tends to resonate with you in poetry? Extra credit for writing a "found poem" from your notes...

Poems of Place

Dang, were they ever good. Let's post them, shall we?

"The Red Wheelbarrow"--Yours!

For posterity...

"The Red Wheelbarrow"

Huh? Help me out, guys. What's up with this poem?

Point of View/Allegory

Comment on something you have read that makes interesting use of either point of view or allegory. Please be specific and support your point with evidence where possible. Or, if you’re inclined to write creatively, write a passage (such as the initial paragraph of a story) in which you experiment with narrative voice, point of view, or allegory.

Quest for the Holy Grail and other good stories

In what ways does Malamud play with myth throughout the novel, and how does this motif illuminate or contribute to the meaning of the work as a whole?