Look We Have Coming to Dover!

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Look We Have Coming to Dover!

Look We Have Coming to Dover!

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The beauty of Matthew Arnold’s Dover Beach scene is contrasted with Nagra’s poem, in which the sea has ‘gobfuls’ in its ‘phlegmed water’ and the cliffs are crumbling and ‘scummed’. There is no consistent rhyme or rhythm scheme in the text but the patterning of the lines is similar and a reader can find structure through the images used by Nagra. Nagra, whose own parents came to England from the Punjab in the 1950s, conjures a jazzed hybrid language to tell stories of aspiration, assimilation, alienation and love, from a stowaway's first footprint on Dover beach to the disenchantment of subsequent generations. begins with a good example of alliteration, the simple connection of the words “Seagull” and “shoal. To calculate the overall star rating and percentage breakdown by star, we don’t use a simple average.

is the most acclaimed debut collection of poetry published in recent years, as well as one of the most relevant and accessible. These social issues make the poem even more interesting to look back on, and could help students to make a whole range of interesting comparison points with other poems. You can change your choices at any time by visiting Cookie preferences, as described in the Cookie notice. The title is ungrammatical, Nagra teasing his own people for their incorrect English with gentle humour. Nagra, whose own parents came to England from the Punjab in the 1950s, draws on both English and Indian-English traditions to tell stories of alienation, assimilation, aspiration and love, from a stowaway’s first footprint on Dover Beach to the disenchantment of subsequent generations.For example, the first line of every stanza has eight, six, or seven syllables and the fifth somewhere between fourteen and sixteen. There is also the personification of the wind and rain described as “yobbish” and the ugly connotations and dehumanisation of “swarms of us” which likens those entering the country to insects.

Literature is one of her greatest passions which she pursues through analyzing poetry on Poem Analysis. The link to immigration would become particularly clear with the reference to “Dover” as this is a key point of entry to the UK from mainland Europe as this is at the narrowest stretch of the English Channel. The speaker highlights the struggles of immigrant life: the lack of official documentation, the difficulty of finding work and housing, and the threat of violence and deportation.Taking in its sights Matthew Arnold's 'land of dreams', the collection explores the idealism and reality of a multicultural Britain with wit, intelligence and no small sense of mischief.

If that doesn't work, there may be a network issue, and you can use our self test page to see what's preventing the page from loading. They are seeking out lives that aren’t marked by fear and would love to be accepted into the normal culture of the day in which they didn’t have to hide. It is scary, employed by the speaker to show how those in England would view the immigrants coming to their country. Once again there is another light-hearted phrase within the poem to contrast with the more serious issues being raised, helping to present people as normal and approachable to a reader. A similar technique is the use of British references and imagery to juxtapose with the non-English words and ideas.

Descriptions such as “swarms” take individuality out of those coming to the country, showing how identity can easily be removed and stereotypes applied. Its rhythmical, phonetic delicacies offer a colourful insight into British-Asian culture and are an inspiration to read.

Alternatively it could be seen as further representation of cycles, perhaps arguing that changes in immigration are natural changes which should be expected. There are many examples, such as “alfresco” (Italian) and “camouflage” (French) within the first two stanzas, and reference to champagne through “charged glasses” in the final stanza. Nagra also dramatises an uneasy nation, as one idea of England is replaced by another — the latter, Nagra’s vision, is uglier, with hostility to immigrants and pollution. Suffice to say the man knows his stuff but as amusing as studying Shakespeare can be (for novelty value if nothing else), it pales in comparison to Mr Nagra's work: the patron saint of English Literature (a BLUE CHIP subject). The inclusion of “invade” introduces the ongoing theme of words with negative connotations, but this one is particularly notable because of the direct link to hostile people entering another country.Home to William Golding, Sylvia Plath, Kazuo Ishiguro, Sally Rooney, Tsitsi Dangarembga, Max Porter, Ingrid Persaud, Anna Burns and Rachel Cusk, among many others, Faber is proud to publish some of the greatest novelists from the early twentieth century to today. The poet uses words in whatever way seems to convey his meaning, regardless of whether this is ‘correct’, and subtly conveys extra layers of meaning.



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