Hathaway has been widowed. Left with Shakespeare's
second best bed, instead of being insulted, Duffy uses
the bed as a metaphor for intense passion and romance.
Structure
Duffy employs a Shakespearian sonnet form
which has associations with romantic poetry.
The rhyme is much more relaxed
and less restrictive, combined
with erotic language and
imagery.
Duffy uses a regular meter
but deliberately uses
assonance and alliteration
"body/now"
"living laughing love"
to mimic the random
touching during love making,
as if the words themselves
are grazing each other.
Duffy frequently uses enjambment to convey how freely
and continuous their love flowed between each other as
well as emphasizing the importance of certain
words/phrases.
"lover's words/were shooting stars"
Quadrant 1
Duffy compares
the bed to a
"spinning world"
suggesting their love made Hathaway
dizzy and was encompassing.
Duffy makes no reference to Hathaway
as a partner/mother, but rather a lover,
reinforcing their passion and romance.
"forests,castles,torchlight,clifftops,seas"
Recalls the settings of come of Shakespeare's most
famous works, such as Macbeth, Hamlet and The
Tempest, creating a link between these iconic works
as echo's of excitement that took place in this bed.
"pearls"
Suggest that the couple found something
precious and valuable in their lovemaking.
This intimate, sensual tone is reinforced
by comparing her lovers words to
"shooting stars which fell to earth as kisses"
Suggesting Hathaway was seduced by
her lover's language and poetry.
Quadrant 2
Anne's body is a
"softer rhyme"
to her lovers harder, more
masculine body.
Duffy describes his erotic touch as
"a verb dancing in the centre of a noun"
suggesting their love making was poetic
and linguistically sensual.
Hathaway also imagines that, like
his characters, Shakespeare had
"written her"
suggesting that she is only fully alive through
the eyes and imagination of her lover.
"the bed"
This reference creates a link
to the opening line of the
poem, reinforcing the
significance of the bed as a
representation of their love.
Quadrant 3
The enjambment from line 8 continues the
extended metaphor from the previous quadrant as
the bed is compared to the parchment on which the
passion and excitement associated with the
playwright was written.
"Romance/ and drama"
Suggests that
the inspiration for
Shakespeare's
characters come
from their
lovemaking.
Placed at the end of the
line to emphasize that
this is what she most
associates with their
relationship.
Duffy uses sensory imagery
"touch"
"scent"
"taste"
to reinforce how
vividly she can recall
their lovemaking, as
though remembering
these memories she
can experience this
passion again.
Duffy compares their poetic and sensual
lovemaking to those's who slept in the
"other bed"
She claims those who
slept in the best bed
are only capable of
"dribbling their prose"
implying they are ordinary and unexceptional
whilst her and Shakespeare's bed is skilful and
creative, like the language used in this poetry.
Duffy employs
the use of
elongated
assonance
"my living laughing love-"
Emphasizing how vividly she can
recall their passion, suggesting that
her lover continues to exist and
survive through her memories. The
dash creates a pause to allow the
reader to reflect on this idea and
prepare for the resolution.
The entire poem is a metaphor comparing the couple's love
making to the process of artistic and poetic creativity.
The couplet
Ends with a masculine full rhyme.
"head"
"bed"
to provide a defined conclusion.
The metaphor of holding
her lover in the protective
"casket"
of her imagination
reinforces the idea
presented in the
previous line that in a
way memory allows us
to live forever.
Duffy suggests this is
much more fitting than an
urn or a coffin as although
they may contain the
physical remnants of a
body, they can never
capture the vitality of the
persons character.
By remembrance, she is really honouring his true legacy.