080007020 12. Explore the use of myth in the poetry of Margaret Atwood and/or Carol Ann Duffy.

For centuries, myths have been passed down in cultures from generation to generation as a way of interpreting the nature of the universe and natural events in a supernatural way. These stories range from those found in Greek myths, such as the adventure of Odysseus in Homers epic poem Odyssey, to those of the Norse mythology, such as the creation of the world and the foretold end (Ragnark) in the poem Vlusp. In Carol Ann Duffys poems, specifically those in The Worlds Wife, these familiar myths are re-imagined, and told through the narrative viewpoint of the female, and Duffy is especially skilled in her use of dramatic monologue1. This change of viewpoint not only allows a new take on these stories, but also allows Duffy to put forward her feminist and anti-male viewpoints. In Duffys poem Medusa, the famous myth of the Gorgon sister with a head full of snakes and a gaze that could turn anything to stone is explored. However, to understand fully Duffys interpretation, the context of how Medusa came to be must be understood. The only mortal of the three Gorgon sisters, Medusa was once very beautiful; however she lived in a place where the sun did not visit. After being disallowed to visit the south to see the sun by Athena, Medusa accused Athena of being jealous of her beauty. Enraged by this, Athena turned Medusa into the monster that turned even the strongest of men into stone. However, in Duffys poem, we are given a subjective view of why Medusas hair has been turned to snakes, as the poem is written in the form of a dramatic monologue (A suspicion, a doubt, a jealousy/ grew in my mind,2) which gives a voice to the previously silenced character of Medusa. The use of the dramatic monologue allows the reader to see through the eyes of Medusa, and humanises this powerful Gorgon monster. The abstract nouns used in the first line of the poem show that Medusa can feel emotions which are universal to the human race, thus allowing
1

Stallworthy; Ramazani: Carol Ann Duffy: The Norton Anthology of English Literature Eighth Edition Volume 2 Ed. By Stephen Greenblatt and M. H. Abrams (London; New York: W. W. Norton & Company, Inc.: 2006), pp. 2873-2874 2 Duffy, Carol Ann: Medusa: The Norton Anthology of English Literature Eighth Edition Volume 2 Ed. By Stephen Greenblatt and M. H. Abrams (London; New York: W. W. Norton & Company, Inc.: 2006), p. 2875, l. 1-2

the reader to empathise with her rather than be fearful of her. These abstract nouns are also the thoughts which turned the hairs on [her] head to filthy snakes3. This line is ironic because of the dramatic monologue, as Medusa may in fact be speaking metaphorically alluding to the fact that her thoughts are poisonous to her - but the reader assumes from their prior knowledge of the monster that her hair is literally made of snakes. Although Duffy presents Medusa as a character who has still preserved some of her humanity, she still uses vivid imagery to convey the hideous nature of the Gorgon. The image of the filthy snakes is continued on in the second stanza from the first through the use of sibilant phrases (hissed and spat on my scalp. / My Brides breath soured, stank4) and derogatory language (in the grey bags of my lungs. / Im foul mouthed now, foul tongued5). Theses sibilant sounds and especially the onomatopoeic verb hissed serve to emphasise her snake-like features, even the hissing in her voice, which enhances the readers image of Medusa as a monster. The derogatory language and repetition of the adjective foul describe the features of Medusas face, as Duffy makes the reader draw upon the senses of sight6 and smell to conjure up the image of this creature of the shadows. Duffy ends the second stanza with a rhetorical question, asking Are you terrified?7 This is powerful, as it is a direct address to the reader, which adds to the conversational feel of the poem. It makes the reader feel as if they have been asked a question by Medusa herself, and puts them in the position of facing this monster, however the fact that the poem has a conversational tone perhaps makes Medusa appear more rational, again humanising her to the reader. This is in contrast to the start of the third stanza which begins with the imperative phrase Be terrified8, which sets a more forceful tone and intimidates the reader, reminding them of the dangers that lie upon crossing Medusa. It is in the third stanza which Duffys feminist views are clearly stated: Its you I love, / perfect man, Greek God, my own; But I know youll go, betray me, stray / from home9
3 4

Ibid, l. 3 Ibid, l. 5-6 5 Ibid, l. 7-8 6 Stallworthy; Ramazani, p. 2874 7 Duffy, l. 11 8 Ibid, l. 12 9 Ibid, l. 13-16

It is suggested that the cause of Medusas evil nature is because of a man, this Greek God, perhaps referring to the God Poseidon with whom Medusa had a relationship with before she was turned into a monster. This feminist idea that men are the cause of their radical actions is continued in the seventh stanza (And here you come/and your girls, your girls.10). The repetition of the phrase your girls emphasises that Medusa has become like this because of the hurt her lover has cause her by being unfaithful. This stanza refers to the coming of Perseus, who slays Medusa using a shield given to him by Athena; however it is not made clear who it is as the second person pronoun you is used, and therefore it may be referring to her former lover. Duffy ends the poem not with the slaying of Medusa by Perseus, as the myth goes, but by evoking sympathy from the reader. She does so using rhetorical questions (Wasnt I beautiful? / Wasnt I fragrant and young?11). This leaves a feeling of sympathy towards this pitiful, neglected woman, who was turned into a monster, ruined, because of a man, something which many women feel have happened to them. It again humanises Medusa, as all women have a nostalgic moment in their lives, wishing they were young again. The last line in the poem is emphasised heavily by the fact that it has its own stanza, (Look at me now12) and is also ironic, as the reader is well aware that looking at Medusa will be accompanied with the consequence of being turned to stone. This again causes the reader to sympathise with Medusa, as she will never have anyone look at her again through loving eyes, but eyes full of contempt and murderous intentions. In Duffys poem Eurydice, the story of Orpheus and his wife is told from the perspective of Eurydice, the wife. In the original story, Eurydice is killed by a venomous snake, leaving Orpheus in a distraught state. He then played his lyre, mourning the loss of his loved one, and all of the Gods and Nymphs wept, telling him to go to the Underworld and find his Eurydice. Orpheus proceeded down to hell, and as the story goes, he used his lyre to put the guardian of the Underworld, Cerberus a three headed dog to sleep, and also convinced Hades and Persephone let him take Eurydice back to the living world. There was one condition, as Orpheus had to walk out of the Underworld without looking back at Eurydice, or she would disappear forever. A momentary weakness caused Orpheus to look back, and he would never be able to see Eurydice again.
10 11

Ibid, l. 36-39 Ibid, l. 40-41 12 Ibid, l. 42

Once again, Duffys adaption is in the form of a dramatic monologue from the perspective of Eurydice (Girls, I was dead and down13). This allows the reader to hear the thoughts of Eurydice, and how they contrast a great deal to the original story. In a similar way to Medusa, Eurydice adopts a conversational tone through the use of rhetorical questions (What else?14). However, in contrast to it, Eurydice specifies who the narrator is talking to, through her reference to the girls throughout the poem. The reference to this female audience emphasises the sexist views in the poem, and also reflect upon the fact that the ideals in the poem are supported widely by the same sex. In the first stanza, Eurydice explains that she was in the Underworld. Through dark and derogatory phrases such as a shadow of my former self15 and a black full stop, a black hole16 the gloomy underworld is presented vividly to the reader, and this makes the last line in the stanza all the more striking (It suited me down to the ground17). The reader is given a sense of how much disdain she had for her former life, if she preferred the life of a dead woman. This is continued in the second stanza when she thinks the Underworld is the one place youd think a girl would be safe18 from her former lover, whom she mocks for sulking when she sarcastically commented on his weakness for abstract nouns19. The third stanza uses short sentences and lines to create a sarcastic tone which emphasises Eurydices contempt for Big O20. Lines such as Him21 and Larger than life22 mock Orpheus and his reputation amongst the Gods as a beautiful singer, whilst the phrase with me as the prize suggests the underlying message of the poem, which is that men consider women to be nothing but materialistic possessions to be won by proving themselves to others. Eurydices negative feelings towards Orpheus are once again presented through the use of taboo language (Bollocks23). This shows her unwillingness to go
13 14

Duffy, Carol Ann: Eurydice l. 1 Ibid, l. 108 15 Ibid, l. 3 16 Ibid, l. 5 17 Ibid, l. 10 18 Ibid, l. 16 19 Ibid, l. 24 20 Ibid, l. 30 21 Ibid, l. 29 22 Ibid, l. 31 23 Ibid, l. 45

back to the living world with Orpheus to be trapped in his images, metaphors, similes, octaves and sextets, quatrains and couplets, elegies, limericks, villanelles, histories, myths...24 By listing these poetic features and linguistic terms, Eurydice is making a mockery of Orpheus poetry and the verb trapped clearly shows she cannot go back to that life, and In fact [shed] rather be dead25 In the poem, Duffy even makes a reference to the old familiar story (Girls, forget what youve read26). This is humorous and bold as it suggests that the old story was altered by men in order to present them in a favourable light, when in actual fact, Eurydice wants nothing more than to be left alone. Duffy reflects Eurydices desires through a playful rhyme scheme in the lines: I was dead. Deceased. I was resting in Peace. Passe. Late. Past my sell-by date...27 The rhyme schemes of these lines draw emphasis on them, therefore enhancing Eurydices view that she was much better off dead than with Orpheus. It also adds humour to the story which was not present in the original, satirises it and its main character Orpheus, who is made out to be expendable in the second last stanza when Eurydice notices he hadnt shaved28 and she waved once and was gone.29 This is another ideal of the poem, which suggests women do not need men, and although in the older myth Orpheus was presented as a hero, literally going into the depths of hell to save his loved one, it is he in the end that is easily dismissed and replaced. Carol Ann Duffys use of myth in her poems is controversial. On the one hand, they are a fresh re-imagining of familiar stories, and from the simplest change of perspective the reader is given a whole new twist on their interpretation of the situation, be it the pity they are made to feel for the nostalgic Medusa or the sympathy evoked for the trapped Eurydice. However, most (if not all) of these poems contain strong feminist undertones, and anti-male views. Therefore, it can be easy for the
24 25

Ibid, l. 64-67 Ibid, l. 51 26 Ibid, l. 79 27 Ibid, l. 85-87 28 Ibid, l. 109 29 Ibid, l. 110

reader to feel intimidated by Duffys ideals rather than enjoy her clever new take on the situations. This therefore begs an answer to the question: Can poetry be enjoyed if the poets ideals conflict with the readers?