Carol Anne Duffy

’s Adultery Essay, Research Paper

Carol Anne Duffy.s poem .Adultery. is structured in a traditional and

straightforward way. It is comprised of eleven verses – each with the common

four lines, which consist of between four and nine words. This makes the poem

not particularly striking at the first look, before it is read. The typography

does not attract the readers attention, this is probably because Duffy wants the

reader to concentrate on the language, and is not concerned with the shape that

the lines form, or how they relate to the themes of the poem. RHYME AND RHYTHM

Duffy does not seem particularly interested in rhyme in this poem, and probably

decided before writing it that she did not want any. Therefore rhyme has been

avoided, as has a regular, repetitive rhythm. I think that Duffy wants to allow

the language to speak for itself, without getting tangled up in rhyme and rhythm

schemes, and having to change what she wants to say in order to make it fit

these limitations. She also wants to avoid losing the impact of the poem. This

has much to do with the language used, poetic devices, and very often, the lack

of rhythm, seen clearly in the first verse when she writes: .Guilt. A sick,

green tint. The caesura breaks up the line, splitting it into two. If she were

writing within the barriers of a specific rhythm, she would probably be tempted,

and perhaps compelled to, split this line exactly in half, in order to balance

it and keep the structure. This would not have the same effect. The caesura is

used as dramatic device, implying that the poem is intended to be read out loud.

The break makes the reader pause, giving the first word a larger impact as it is

isolated from the rest of the text. It also does the same for the following

sentence, and as it is on the end of the verse, there is a natural pause here as

well, giving this line impact and power. Seeing as it also highlights a key

theme in the poem, guilt, it is also an important line as it tells the reader a

little about what to expect, and also raises their interest and expectations,

Guilt. Why. Who. LANGUAGE Duffy uses language very effectively in this poem. She

wants to create a specific atmosphere and then build on it, creating characters,

situations and emotions as she does so. She wants an atmosphere of sleaziness

and seediness, but wants it to sound exciting, dangerous and seductive. She also

examines the harm that the situations cause. The first verse (or stanza) is

packed with intrigue, mystery, excitement and questions. .Wear dark glasses in

the rain., demands the first line, and the reader gets ideas of disguise. It

goes on to mention .unhurt. and .bruise. – dark glasses to hide a black

eye. Maybe not, another glance at the title, .Adultery., suggests something

else – sado-masochism. Then comes the .guilt., as mentioned above, and

reader knows she is talking about a sexual affair – but who. What. Where. We

want to know more. The second verse builds on the sexual intrigue with mentions

of .hands can do many things., and .money tucked in the palms. suggests

prostitution, as well as .wash themselves. maybe implying that they feel

dirty. Duffy is building an atmosphere which is sexually charged and filled with

riddles and ambiguous comments, daring the reader to assume a sexually link. The

next verse features the line: .You are naked under your clothes all day….,

another sexual connotation, perhaps implying that the clothes are a disguise,

and all day the character does something which is not really them, and

underneath they are different, .naked. suggests vulnerability. There is also

.…brings you alone to your knees…. and .…more, more…., which

could suggest oral sex, while the repetition shows that Duffy considers this the

most important word of the line, demanding it stands out, and it could suggest

an unsatisfied sexual appetite, or description of the frequency of the

couple.s meetings. Dishonesty is mentioned with .deceit. and .Suck a lie

with a hole in it.. This could be a more explicit reference to oral sex, or

more obscurely, Polo mints, the mint you suck with a hole in it. Duffy could be

saying that the lies are sweet, addictive and refreshing compared with a mundane

life, like Polo mints; she could mean that the lies come as easily as sweets

from a packet, although probably not. Or perhaps the key is in the next line:

.On the way home from a lethal thrilling night.. Maybe the character is

mulling over what the excuse will be to the spouse, how he/she will lie their

way out of where they have been, but the lie will always be flawed as it is not

true – hence the hole. The .lethal. also brings a touch of danger to the

atmosphere. Duffy does not want the reader to be comfortable with this deceit or

the situation as a whole. We know it is sordid, and now we know it could be a

bit hazardous. Duffy continues w

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