Teacher by Carol Ann Duffy?

Question

When you teach me,
your hands bless the air
where chalk dust sparkles.

And when you talk,
the six wives of Henry VIII
stand in the room like bridemaids,

or the Nile drifts past the classroom window,
the Pyramids baking like giant cakes
on the playing fields.

You teach with your voice,
so a tiger prowls from a poem
and pads between desks, black and gold

in the shadow and sunlight,
or the golden apples of the sun drop
from a branch in my mind’s eye.

I bow my head again
to this tattered, doodled book
and learn what love is.

Carol Ann Duffy


in this poem have any Imagery?

Answer 1

The poem is almost all imagery.



The teacher talks about Henry VIII's wives, and Carol sees them. This is imagery.



The teacher talks about the pyramids, and Carol sees them. More imagery.



This time it is a double helping of imagery, since Carol not only sees the pyramids (imagery level 1), but she imagines them as 'giant cakes' (imagery level 2).



There are many more images here, now you can find some.

Answer 2

The question you were attempting to ask is "does this poem contain imagery?" As far as an answer goes: look up the word imagery in the dictionary, then read the poem again.

Answer 3

Taken from the Wikipedia page on Carol Ann Duffy -- Style section Duffy's work explores both everyday experience and the rich fantasy life of herself and others. In dramatising scenes from childhood, adolescence, and adult life, she discovers moments of consolation through love, memory, and language. Charlotte Mendelson writes in The Observer: Part of Duffy's talent – besides her ear for ordinary eloquence, her gorgeous, powerful, throwaway lines, her subtlety – is her ventriloquism. Like the best of her novelist peers ... she slides in and out of her characters' lives on a stream of possessions, aspirations, idioms and turns of phrase. However, she is also a time-traveller and a shape-shifter, gliding from Troy to Hollywood, galaxies to intestines, sloughed-off skin to department stores while other poets make heavy weather of one kiss, one kick, one letter ... from verbal nuances to mind-expanding imaginative leaps, her words seem freshly plucked from the minds of non-poets – that is, she makes it look easy. Of her own writing, Duffy has said, "I'm not interested, as a poet, in words like 'plash'—Seamus Heaney words, interesting words. I like to use simple words, but in a complicated way." She told The Observer: "Like the sand and the oyster, it's a creative irritant. In each poem, I'm trying to reveal a truth, so it can't have a fictional beginning." Duffy rose to greater prominence in UK poetry circles after her poem "Whoever She Was" won the Poetry Society National Poetry Competition in 1983.[20] In her first collection, Standing Female Nude (1985), she uses the voices of outsiders, for example in the poems 'Education for Leisure' and 'Dear Norman'. Her next collection Feminine Gospels (2002) continues this vein, showing an increased interest in long narrative poems, accessible in style and often surreal in their imagery. Her 2005 publication, Rapture (2005), is a series of intimate poems charting the course of a love affair, for which she won the £10,000 T.S. Eliot Prize. In 2007, she published The Hat, a collection of poems for children. Online copies of her poems are rare, but her poem dedicated to U A Fanthorpe, Premonitions, is available through The Guardian, and several others via The Daily Mirror.