(c) One of the main themes of An Inspector Calls is that of lies. Show how Priestley exposes deceit, both in his characters and in society as a whole. Discuss with close reference to the novel.
Lies is one of the main themes of “An Inspector Calls.’ We discover that in this play, much deception is practiced in a tangled woven web of lies.
Sybil Birling, a social snob, is revealed as a liar when she states that she has never met Eva Smith. In fact, she has met Eva, when the latter appealed to the Brumley Women’s Committee for help. As she is a liar, Goole is accordingly harshest with her, when he exposes her.
Eva, the deluded victim, lied to Sybil for survival, calling herself “Mrs. Birling.” In fact, she is unmarried and is the mother of Eric’s unborn child. Why should she presume to call herself “Mrs. Birling”? Perhaps it is because Birling is Eric’s surname and she represented herself initially as an abused married woman. Perhaps she hoped that Sybil would pity her, or she wished to blackmail Sybil for concealing the shameful secret. However, her unfortunate indiscretion led Sybil to spurn an subsequently lie to Goole.
Arthur, as a parsimonious Capitalist, insists that he is not responsible for Eva’s death. He lives in a world of self-delusion, in which he figures as the hero.
When this is viewed in the perspective of society as a whole, Arthur is living a lie. As an employer, he ought to provide Eva with benefits yet denies his responsibility when she commits suicide. He is clearly responsible for her death as he had fired her. His mask of shallow hypocrisy is exposed in the revelation of Eva’s impregnation by Eric. He is furious with Eric for seducing Eva not because he pities the latter. Instead, he says, “There’ll be a public scandal.” He wishes to keep the scandal under wraps in order to protect his reputation and this is living a life of deceit.
Sybil as the member of the Brumley Women’s Committee, is supposed to offer assistance to battered women. However, she rejects Eva’s appeal for aid, dismissing her. The Committee, in fact, is but a mere lie – it is a veneer for status and respectability rather than a helper of unfortunate females. Priestley portrays his contempt for the upper classes that use facades for prestige but do little. Goole, too, is ultimately revealed as a liar as he is not an Inspector. He serves to trip the masks of the others and expose deceit. In this way, deceit reveals deceit.
Hence, deceit in a society as a whole is extremely prevalent. Eva used it to survive; the Birlings practiced it for a secure reputation. However, deceit is a destructive force that eventually pulls us down when it is revealed as in the cases of Eva and the Birlings; and this way, Priestley conveys his opinions on the shallowness of deceit, particularly when exposed.
Marls: 11/12
Sunday, November 11, 2007
An Inspector Calls by J.B. Priestley
(b) Sheila represents the younger generation that Priestley hops is still open-minded enough to learn to accept responsibilities for others. Describe Sheila.
Sheila, being a member of the younger generation in an upper-middle class hierarchy, is initially naïve and spoilt. We see her spite and malice when she had Eva Smith fired for humiliating her by looking pretty. The Inspector observes that she was “jealous of her.”
However, she is open-minded and not truly conservative. I n one instance, she tells Eric, “You’re squiffy” which was considered unladylike in 1912, for “squiffy” is a slang for “slightly drunk.” Furthermore, she affectionately kisses Gerald in a state of excited elation upon receiving a ring from him. In those days, girls were expected to be modest, virtuous and constrained. “Oh, darling!” she exclaims in delight.
Furthermore, when the revelations of her spite acted on Eva and the dilapidated conditions of laborers are brought to her, she is genuinely shocked. Certainly she has a sensitive nature hidden within that is brought out when she is undeceived. When the Inspector informs her that there are girls who live in poverty-stricken states due to parsimonious employers, she protests, “But these girls aren’t cheap labour – they’re people.”
In the end, she is shown to be impressionable, being affected by Goole’s harangue and accepting responsibility for Eva’s death; she clearly sees her luckless wrongs, and is honest enough to face up to her gross misdeed. “It doesn’t much matter” that Goole turns out not to be an Inspector, she feels.
Hence, through Sheila, Priestley wishes to show that the younger generation is open-minded enough to learn to accept responsibilities for others. As they are young, mutable and inexperienced, such radical responsibility can be inculcated in them, being receptive to new ideas.
Marks: 7/8
Sheila, being a member of the younger generation in an upper-middle class hierarchy, is initially naïve and spoilt. We see her spite and malice when she had Eva Smith fired for humiliating her by looking pretty. The Inspector observes that she was “jealous of her.”
However, she is open-minded and not truly conservative. I n one instance, she tells Eric, “You’re squiffy” which was considered unladylike in 1912, for “squiffy” is a slang for “slightly drunk.” Furthermore, she affectionately kisses Gerald in a state of excited elation upon receiving a ring from him. In those days, girls were expected to be modest, virtuous and constrained. “Oh, darling!” she exclaims in delight.
Furthermore, when the revelations of her spite acted on Eva and the dilapidated conditions of laborers are brought to her, she is genuinely shocked. Certainly she has a sensitive nature hidden within that is brought out when she is undeceived. When the Inspector informs her that there are girls who live in poverty-stricken states due to parsimonious employers, she protests, “But these girls aren’t cheap labour – they’re people.”
In the end, she is shown to be impressionable, being affected by Goole’s harangue and accepting responsibility for Eva’s death; she clearly sees her luckless wrongs, and is honest enough to face up to her gross misdeed. “It doesn’t much matter” that Goole turns out not to be an Inspector, she feels.
Hence, through Sheila, Priestley wishes to show that the younger generation is open-minded enough to learn to accept responsibilities for others. As they are young, mutable and inexperienced, such radical responsibility can be inculcated in them, being receptive to new ideas.
Marks: 7/8
The Way THings Are by Roger McGough
c) Children should be taught to face reality. Do you agree with this statement? Discuss with close reference to the poem “The Way things Are” by Roger McGough.
It is true that children should be taught reality. The theme of reality versus illusion is brought out in “The Way Things Are” by Roger McGough through the persona’s lecture to his child.
Take for instance “Bubblegum does not make the hair soft and shiny.” Bubblegum, in fact, is ruinous to our hair. The figurative meaning indicates that things that are pleasurable, such as bubblegum, are not necessarily beneficial. Hence, children should be taught this lesson so that they do not thoughtlessly indulge in disastrous pleasure.
Another example is lectured as “No, the red wooly hat has not been/put on the railing to keep it warm.” This can be interpreted as certain deeds that may appear to have been done with kind intentions may have been done accidentally or selfishly. Literally, placing the hat on the railing “to keep it warm” I persiflage as railings are not living organisms and hence cannot feel.
We cannot subsist on dreams. “Moonbeams, sadly, will not survive in a jar.” Dreams being abstract, unrealistic and unattainable are represented as “Moonbeams” which have similar attributes. We should not be preoccupied with dreams or illusions; the jar symbolizing life or our mind. In another perspective (moonbeams being beautiful and unattainable), the phrase advises us to face reality and not be too over-possessive.
Do not cling on to the unachievable. Children should be taught to accept defeat, and that they cannot always have everything that they desire.
Furthermore, “No trusting hand awaits a falling star” informs us that miracles, represented by a “star” are rarities. W cannot expect fortune to descend to us, and wait meaninglessly. Instead, children should strive to achieve their goals through dedicated efforts.
Therefore, children should be taught to face reality, for childlike innocence may result in eventual disappointment and disillusion as a result of ignorance and naïveté. This message is cleverly conveyed in the woven web of symbolism.
Marks: 10/12
It is true that children should be taught reality. The theme of reality versus illusion is brought out in “The Way Things Are” by Roger McGough through the persona’s lecture to his child.
Take for instance “Bubblegum does not make the hair soft and shiny.” Bubblegum, in fact, is ruinous to our hair. The figurative meaning indicates that things that are pleasurable, such as bubblegum, are not necessarily beneficial. Hence, children should be taught this lesson so that they do not thoughtlessly indulge in disastrous pleasure.
Another example is lectured as “No, the red wooly hat has not been/put on the railing to keep it warm.” This can be interpreted as certain deeds that may appear to have been done with kind intentions may have been done accidentally or selfishly. Literally, placing the hat on the railing “to keep it warm” I persiflage as railings are not living organisms and hence cannot feel.
We cannot subsist on dreams. “Moonbeams, sadly, will not survive in a jar.” Dreams being abstract, unrealistic and unattainable are represented as “Moonbeams” which have similar attributes. We should not be preoccupied with dreams or illusions; the jar symbolizing life or our mind. In another perspective (moonbeams being beautiful and unattainable), the phrase advises us to face reality and not be too over-possessive.
Do not cling on to the unachievable. Children should be taught to accept defeat, and that they cannot always have everything that they desire.
Furthermore, “No trusting hand awaits a falling star” informs us that miracles, represented by a “star” are rarities. W cannot expect fortune to descend to us, and wait meaninglessly. Instead, children should strive to achieve their goals through dedicated efforts.
Therefore, children should be taught to face reality, for childlike innocence may result in eventual disappointment and disillusion as a result of ignorance and naïveté. This message is cleverly conveyed in the woven web of symbolism.
Marks: 10/12
For My Old amah by Wong Phui Nam
(b) What perception do you get of the relationship between the persona and his old amah in Wong Phui Nam’s poem, “For My Old Amah”?
The relationship between the persona and his old amah in “For My Old amah” is close, from what I perceive.
For example, he describes the pitiful conditions of her lodgings with its “spittoon” and “trestle.” He does this with such pity and sympathy that one cannot help but sense his genuine pity for the amah. She, too, is in a dilapidated state of health and he expects that the “branches” will snap “in the dark” indicating her impending demise.
Furthermore, he portrays a close attachment to his amah. When thinking of his past days with her, he is filled with nostalgia. “Your palm crushed the child’s tears from my face.” In his youth, she had consoled him, and for this, he holds her in gratitude.
Moreover, he fact that he understands her situation indicates that he has visited her decrepit lodgings. She is not related to him, yet his close relationship and responsibility compels him to visit her.
The “biscuit tins” and “piles of dresses” in addition are “brutal” as they remind him of her sorrowful condition, as well as feelings of sentimental nostalgia. Seeing these things as “brutal” for they remind him of her, and he feels pangs for her. After her eventual death, these objects which are associated with her will flood him with past reminiscences about her.
Hence, closeness is depicted between the persona and his amah. The fact that he has immortalized her in verse shows that her condition sufficiently affects him to the extent of expressing his feelings in a poem.
Marks: 7/8
The relationship between the persona and his old amah in “For My Old amah” is close, from what I perceive.
For example, he describes the pitiful conditions of her lodgings with its “spittoon” and “trestle.” He does this with such pity and sympathy that one cannot help but sense his genuine pity for the amah. She, too, is in a dilapidated state of health and he expects that the “branches” will snap “in the dark” indicating her impending demise.
Furthermore, he portrays a close attachment to his amah. When thinking of his past days with her, he is filled with nostalgia. “Your palm crushed the child’s tears from my face.” In his youth, she had consoled him, and for this, he holds her in gratitude.
Moreover, he fact that he understands her situation indicates that he has visited her decrepit lodgings. She is not related to him, yet his close relationship and responsibility compels him to visit her.
The “biscuit tins” and “piles of dresses” in addition are “brutal” as they remind him of her sorrowful condition, as well as feelings of sentimental nostalgia. Seeing these things as “brutal” for they remind him of her, and he feels pangs for her. After her eventual death, these objects which are associated with her will flood him with past reminiscences about her.
Hence, closeness is depicted between the persona and his amah. The fact that he has immortalized her in verse shows that her condition sufficiently affects him to the extent of expressing his feelings in a poem.
Marks: 7/8
For My Old amah by Wong Phui Nam
(b) What perception do you get of the relationship between the persona and his old amah in Wong Phui Nam’s poem, “For My Old Amah”?
The relationship between the persona and his old amah in “For My Old amah” is close, from what I perceive.
For example, he describes the pitiful conditions of her lodgings with its “spittoon” and “trestle.” He does this with such pity and sympathy that one cannot help but sense his genuine pity for the amah. She, too, is in a dilapidated state of health and he expects that the “branches” will snap “in the dark” indicating her impending demise.
Furthermore, he portrays a close attachment to his amah. When thinking of his past days with her, he is filled with nostalgia. “Your palm crushed the child’s tears from my face.” In his youth, she had consoled him, and for this, he holds her in gratitude.
Moreover, he fact that he understands her situation indicates that he has visited her decrepit lodgings. She is not related to him, yet his close relationship and responsibility compels him to visit her.
The “biscuit tins” and “piles of dresses” in addition are “brutal” as they remind him of her sorrowful condition, as well as feelings of sentimental nostalgia. Seeing these things as “brutal” for they remind him of her, and he feels pangs for her. After her eventual death, these objects which are associated with her will flood him with past reminiscences about her.
Hence, closeness is depicted between the persona and his amah. The fact that he has immortalized her in verse shows that her condition sufficiently affects him to the extent of expressing his feelings in a poem.
Marks: 7/8
The relationship between the persona and his old amah in “For My Old amah” is close, from what I perceive.
For example, he describes the pitiful conditions of her lodgings with its “spittoon” and “trestle.” He does this with such pity and sympathy that one cannot help but sense his genuine pity for the amah. She, too, is in a dilapidated state of health and he expects that the “branches” will snap “in the dark” indicating her impending demise.
Furthermore, he portrays a close attachment to his amah. When thinking of his past days with her, he is filled with nostalgia. “Your palm crushed the child’s tears from my face.” In his youth, she had consoled him, and for this, he holds her in gratitude.
Moreover, he fact that he understands her situation indicates that he has visited her decrepit lodgings. She is not related to him, yet his close relationship and responsibility compels him to visit her.
The “biscuit tins” and “piles of dresses” in addition are “brutal” as they remind him of her sorrowful condition, as well as feelings of sentimental nostalgia. Seeing these things as “brutal” for they remind him of her, and he feels pangs for her. After her eventual death, these objects which are associated with her will flood him with past reminiscences about her.
Hence, closeness is depicted between the persona and his amah. The fact that he has immortalized her in verse shows that her condition sufficiently affects him to the extent of expressing his feelings in a poem.
Marks: 7/8
The Landlady my Roald Dahl
(c) How has the reading of The Landlady by Roald Dahl taught you that one must be cautious and not too trusting? Discuss with close reference to the text.
An evident theme in “The Landlady” by Roald Dahl is that appearances are deceptive. Billy, due to his naïveté, is taken in by the landlady, thus portraying insufficient caution
In one instance, when he rings the bell of the landlady’s house, he is immediately informed that the rent required is “fantastically cheap.” This compels him to stay there. Yet the house is surrounded in comfort and luxury with “a pretty little dachshund” and a “plump sofa.” Such material convenience is synonymous with exorbitant charges but he is not suspicious of the fiendish schemes brewing in her mind. It is ironical that he found the rent reasonable, for his naïveté has, ultimately, to pay an even higher price – his life.
Furthermore, upon viewing her house, he notices a “a pretty little dachshund” and a “large parrot”, enticing him to stay there. “Animals were usually a good sign.” However, little does he know that they have met their demise until later.
The landlady’s external veneer is attractive; she seems warm and kind with “gentle blue eyes.” So courteous is she that she has thoughtfully prepared Bill’s room. She is depicted as being affectionate such as calling him an endearment, “dear.” This draws him to her. Such wonderful treatment is highly suggestive of concealed evil and ulterior motives, yet Billy suspects nothing. She wishes to preserve his corpse, but he believes her to be a good woman. This may result in his luckless demise.
Moreover, the landlady generously prepared tea for him, which he accepts. The tea tastes of “bitter almonds’ and he is still innocent to her devious schemes.
Only while they are seated together does he realize that the dachshund and the parrot are deceased. They looked so homely and indicated a “good sign” initially, nut he is undeceived upon discovering their preserved state. Further abnormal behaviour of the landlady is depicted when she says her previous tenant’s skin was just “like a baby’s.” Upon being informed that she stiffs and preserves her dad pets, Billy, instead of recoiling, “stared with deep admiration.” Her indecorous indiscretion of remarking on the young man’s skin ought to have put him on his guard, yet he is fascinated and thinks little of this. How could she have discovered that “there wasn’t a blemish” on her victim’s body – unless by malevolent means?
Therefore, one must be cautious and not too trusting. This innocent attribute in Billy despite all the subtle hints, leads to his ensnarement, and ultimately, his impending death. This story teaches me this lesson.
Marks: 11/12
An evident theme in “The Landlady” by Roald Dahl is that appearances are deceptive. Billy, due to his naïveté, is taken in by the landlady, thus portraying insufficient caution
In one instance, when he rings the bell of the landlady’s house, he is immediately informed that the rent required is “fantastically cheap.” This compels him to stay there. Yet the house is surrounded in comfort and luxury with “a pretty little dachshund” and a “plump sofa.” Such material convenience is synonymous with exorbitant charges but he is not suspicious of the fiendish schemes brewing in her mind. It is ironical that he found the rent reasonable, for his naïveté has, ultimately, to pay an even higher price – his life.
Furthermore, upon viewing her house, he notices a “a pretty little dachshund” and a “large parrot”, enticing him to stay there. “Animals were usually a good sign.” However, little does he know that they have met their demise until later.
The landlady’s external veneer is attractive; she seems warm and kind with “gentle blue eyes.” So courteous is she that she has thoughtfully prepared Bill’s room. She is depicted as being affectionate such as calling him an endearment, “dear.” This draws him to her. Such wonderful treatment is highly suggestive of concealed evil and ulterior motives, yet Billy suspects nothing. She wishes to preserve his corpse, but he believes her to be a good woman. This may result in his luckless demise.
Moreover, the landlady generously prepared tea for him, which he accepts. The tea tastes of “bitter almonds’ and he is still innocent to her devious schemes.
Only while they are seated together does he realize that the dachshund and the parrot are deceased. They looked so homely and indicated a “good sign” initially, nut he is undeceived upon discovering their preserved state. Further abnormal behaviour of the landlady is depicted when she says her previous tenant’s skin was just “like a baby’s.” Upon being informed that she stiffs and preserves her dad pets, Billy, instead of recoiling, “stared with deep admiration.” Her indecorous indiscretion of remarking on the young man’s skin ought to have put him on his guard, yet he is fascinated and thinks little of this. How could she have discovered that “there wasn’t a blemish” on her victim’s body – unless by malevolent means?
Therefore, one must be cautious and not too trusting. This innocent attribute in Billy despite all the subtle hints, leads to his ensnarement, and ultimately, his impending death. This story teaches me this lesson.
Marks: 11/12
Saturday, November 10, 2007
Analysis of A Prayer for my Daughter by W.B. Yeats, Stanzas 9-10
Stanza 9: Yeats states that if hatred is ridded off, “the soul recovers radical innocence.” Hatred causes sin and violence; hence to be rid of it is to be innocent of these crimes. Innocence is beautiful in women. “Innocence” is radical because it is rooted in the soul. “Considering that, all hatred driven hence, / The soul recovers radical innocence”. A radical is a term for a root. In another perspective, the “innocence” is “radical” or unconventional because after the war, innocence became more uncommon. Hence, it is “radical” or something new to be innocent, as it defies the flow of convention.
“And learns at last that it is self-delighting, / self-appeasing, self-affrighting”. Innocence causes these attributes in the soul. It delights the soul, for there is no hatred; it is peaceful and soothing, yet it is “self-affrighting’ because it is frightening that others can take advantage of one’s innocence.
“That its own sweet will in Heaven’s will; / She can, though every face should scowl / And every windy quarter howl / Or every bellows burst, be happy still.” Goodness is heaven’s will because the soul is supposed to be good. Goodness makes Anne happy: “its own sweet will is Heaven’s will.”
Yeats states that Anne can still be happy amid chaos, unhappiness, quarrels and problems if she is innocent and free of hatred. “She can, though every face should scowl/ And every windy quarter howl/ Or very bellows burst, be happy still. If she is good, no one can harm her. So males will not overwhelm her (?) If the soul knows itself, “wind” or destructive forces cannot harm her, for the mind is at peace with itself.
Literary devices: repetition – “self-delighting/ self-appeasing, self-affrighting”
Parallelism - “self-delighting/ self-appeasing, self-affrighting”
Metaphors – “every face should scowl” – unhappiness and hostility
“bellows burst” – chaos, arguments. May have reference to McBride’s
“hot air” or people’s blaring opinions without effect.
Tone: revealing, fantasizing, prophesizing
Stanza 10: Yeats hopes that Anne will marry “and may her bridegroom bring her to a house/Where all’s accustomed, ceremonious.” He wants her to have a good, traditional husband. Perhaps he wants her to marry into a good, ceremonious family. He wants her to live in custom and ceremony. He does not want arrogance and hatred in her home, as that happens commonly outside in the vulgar, common crowds “thoroughfares” and would demean herself. Possibly referring to the destructive forces outside. It is demeaning, lowering herself and being rude, as one can find “arrogance and hatred” in the “thoroughfares” as though they re common, crude “wares.”
Innocence and beauty and cultivated by custom and ceremony. Yeats brings out his ideal virtues – custom, ceremony, grace, aristocracy and innocence. “How but in custom and ceremony/Are innocence and beauty born?” If we take “born” for its literal meaning, however, Yeats wants his daughter to have innocent, beautiful children and these virtues are inculcated through custom and ceremony.
Couplet: “Ceremony’s a name for the rich horn,/And custom for the spreading laurel tree.” The rich Horn of Plenty is positive now; as it has offerings, it allows ceremony. For it is ceremonious to have good things and offer them. Perhaps Yeats wants Anne to be well-off and comfortable. A horn also represents ceremony when one blows it to announce something.
Custom is a tradition which is “rooted.” When you plant a tree, it roots, Hence, custom is represented by a tree. The home which inculcates custom is the root of the children’s virtues. Hence, custom is represented by a tree. The spreading laurel tree, is custom but earlier on ,it is mentioned that Anne is a laurel; tree. As laurel tree represents custom, it is “spreading” because Yeats wants Anne to spread custom among her family. A laurel tree may be seen as a family tree. In that case, it is also spreading because Yeats wants Anne to have children – the branches which spread, making a bigger family – and spread custom throughout the generations.
Note that the term “olive-branches” means offspring. This is particularly apt because in this stanza, Yeats speaks of marriage, hence children are born and custom is spread.
Tone: Hopeful, reflective, advisory, lecture-like, opinionated, confident
Literary devices: symbol – “thoroughfares” – world and crowd at large and its
Commonness
“horn” – ceremony
“tree” – custom, family, children, Anne Yeats.
“And learns at last that it is self-delighting, / self-appeasing, self-affrighting”. Innocence causes these attributes in the soul. It delights the soul, for there is no hatred; it is peaceful and soothing, yet it is “self-affrighting’ because it is frightening that others can take advantage of one’s innocence.
“That its own sweet will in Heaven’s will; / She can, though every face should scowl / And every windy quarter howl / Or every bellows burst, be happy still.” Goodness is heaven’s will because the soul is supposed to be good. Goodness makes Anne happy: “its own sweet will is Heaven’s will.”
Yeats states that Anne can still be happy amid chaos, unhappiness, quarrels and problems if she is innocent and free of hatred. “She can, though every face should scowl/ And every windy quarter howl/ Or very bellows burst, be happy still. If she is good, no one can harm her. So males will not overwhelm her (?) If the soul knows itself, “wind” or destructive forces cannot harm her, for the mind is at peace with itself.
Literary devices: repetition – “self-delighting/ self-appeasing, self-affrighting”
Parallelism - “self-delighting/ self-appeasing, self-affrighting”
Metaphors – “every face should scowl” – unhappiness and hostility
“bellows burst” – chaos, arguments. May have reference to McBride’s
“hot air” or people’s blaring opinions without effect.
Tone: revealing, fantasizing, prophesizing
Stanza 10: Yeats hopes that Anne will marry “and may her bridegroom bring her to a house/Where all’s accustomed, ceremonious.” He wants her to have a good, traditional husband. Perhaps he wants her to marry into a good, ceremonious family. He wants her to live in custom and ceremony. He does not want arrogance and hatred in her home, as that happens commonly outside in the vulgar, common crowds “thoroughfares” and would demean herself. Possibly referring to the destructive forces outside. It is demeaning, lowering herself and being rude, as one can find “arrogance and hatred” in the “thoroughfares” as though they re common, crude “wares.”
Innocence and beauty and cultivated by custom and ceremony. Yeats brings out his ideal virtues – custom, ceremony, grace, aristocracy and innocence. “How but in custom and ceremony/Are innocence and beauty born?” If we take “born” for its literal meaning, however, Yeats wants his daughter to have innocent, beautiful children and these virtues are inculcated through custom and ceremony.
Couplet: “Ceremony’s a name for the rich horn,/And custom for the spreading laurel tree.” The rich Horn of Plenty is positive now; as it has offerings, it allows ceremony. For it is ceremonious to have good things and offer them. Perhaps Yeats wants Anne to be well-off and comfortable. A horn also represents ceremony when one blows it to announce something.
Custom is a tradition which is “rooted.” When you plant a tree, it roots, Hence, custom is represented by a tree. The home which inculcates custom is the root of the children’s virtues. Hence, custom is represented by a tree. The spreading laurel tree, is custom but earlier on ,it is mentioned that Anne is a laurel; tree. As laurel tree represents custom, it is “spreading” because Yeats wants Anne to spread custom among her family. A laurel tree may be seen as a family tree. In that case, it is also spreading because Yeats wants Anne to have children – the branches which spread, making a bigger family – and spread custom throughout the generations.
Note that the term “olive-branches” means offspring. This is particularly apt because in this stanza, Yeats speaks of marriage, hence children are born and custom is spread.
Tone: Hopeful, reflective, advisory, lecture-like, opinionated, confident
Literary devices: symbol – “thoroughfares” – world and crowd at large and its
Commonness
“horn” – ceremony
“tree” – custom, family, children, Anne Yeats.
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