This poem is composed of four tercet stanzas, with no explicit rhyme scheme.
The poem follows the speaker’s journey through revisiting old memories and their account of writing them down and how that physically and mentally affects them.
They become overwhelmed by the sadness of their childhood, and remembers all the tear shed, and self-destructive ways of coping.
The title Broken Harvest was inspired by the play The Playboy of the Western World (1907) written by Irish playwright John Millington Synge.
The poem follows the convention of a pastoral poem, but instead of glorifying nature and finding the beauty in it – I have twisted the known poetic form and instead shown the stark brutality of winter. I’ve written an Anti-Pastoral.
The first, third, and fifth stanzas are unrhymed whilst the last line of those stanzas is repeated. The second and fourth stanzas follow the rhyme scheme (AABB). All stanzas are quatrains.
I conjoined two streams of consciousness I wrote together to create a song that follows the same structure as John Lennon’s song ‘Cold Turkey’. That structure being two quatrain stanzas following the (ABCB) rhyme scheme followed by a repeated single-line refrain.
I took inspiration from songs off Jimi Hendrix’s album ‘Voodoo Child: The Jimi Hendrix Collection (2001)’; Jefferson Airplane’s song White Rabbit; and well as Nights in White Satin by The Moody Blues.
The poem is about an overdose of drugs, and the speculation as to whether it was accidental or a way of the narrator stopping everything around them being red, and tempting them back into self-harming.
I used the ambiguous title Plethora as a way of referencing the fact that the speaker’s body is rejecting an excess of medication.
I used the painting The Execution of Lady Jane Grey (1833) created by French artist Paul Delaroche (1797-1856) as the basis of this free verse poem.
The speaker acts as an omniscient narrator – able to see all, and feel all. I focused solely on the historical accuracy of the poem.
I did historical research, and delved into the specific details of the execution of Lady Jane Grey, as well as the Tower of London itself.
I decided to not be explicit with the identity of who the omniscient narrator is following; instead I used historical facts to give her identity away.
I used the date of her execution as the poem’s title, and to separate the poem from contemporary habits I wrote the date in full words rather than numbers. The inscription found above the painting has been used as the poem’s epigraph.
The inspiration I used for this poem was from the life and music of Nick Drake.
I made a specific reference to some of the lyrics in his song Fruit Tree. In the song Nick Drake sings of a person’s fame only being recognised once they’re dead and buried in the ground.
This concept rings true with the countless many artists, actors, and singers who, after having died young become the figures of the doomed Romantic and the work they’ve left behind is usually more sought after because of their inability to create more.
I reference in my poem the sadness that comes from the fact that these one will never know how large their ‘fruit tree’, their fame, has become. I wrote the poem in four quatrains, following the usual (ABAB) rhyme scheme.
I have followed the structure form of a villanelle for this poem.
The theme is concerned with the loss of creativity and the inability to write – something deeper and more permanent than simply writer’s block.
The poem started off as a stream of consciousness that was re-worked into a villanelle.
This poem wasn’t just inspired by Lord Byron’s poem She Walks in Beauty (1813), but also served as a template. I used the last word of every line of Lord Byron’s poem as the last word of my poem.
Byron’s poem is a celebration of Mrs. Wilmot’s beauty, a woman of whom Byron may have had an affair with.
I wanted to write an elegy so instead described the funeral of Mrs. Wilmot and her decaying body.
I took inspiration from the pre-Raphaelite painting Ophelia (1852) created by Sir John Everett Millais (1829-1896). I followed Byron’s original poetic structure of three sestet stanzas and the (ABABAB) rhyme scheme.