Mrs Midas Carol Ann Duffy Context Classical Mythology

Mrs Midas Carol Ann Duffy

Context – Classical Mythology If you want to read it, let me know! • The myth on which the poem is based is the story first told by Ovid in his “Metamorphoses”. • Midas, King of Phrygia, is granted a wish by the god Dionysus and his greed prompts him to ask that everything he touches will turn to gold. • However, Midas touched his daughter and she became a gold statue. He also couldn’t eat anything because his food turned to gold. • He eventually begged for his powers to be reversed.

Setting • In “Mrs Midas”, Duffy transplants the Midas myth to a modern context (modern re-setting of familiar story). • The effect of this is to trivialise the story and add humour. A king in Classical Greece surrounded by gold is expected; it is incongruous in a modern British suburban home. • This is partly what makes Midas of the poem pathetic, rather than noble.

Style • Is a dramatic monologue told from the point view of Midas’ wife (she is the persona). • Explores how she feels about the situation with her husband her perspective on his wish – of all the things he could have wished for, he wished for this. What does this say about what kind of person he is? • Very little impression is formed of the character of Mr Midas. He has no voice and does not seem to do anything apart from react to his situation and accept the decisions made by his wife. • Mrs Midas refers to him as a ‘fool’ and accuses him of ‘idiocy’, ‘greed’, ‘lack of thought’ and ‘selfishness’.

Structure • The poem is comprised of eleven irregular, unrhymed stanzas. • Each stanza 6 lines long; regular length unrhymed. • Approx. 12 – 15 syllables = relaxed, narrative effect. • Unpredictable rhyming reflects how unpredictable life becomes for Mr and Mrs Midas. • Works well read aloud (dramatic monologue)

• Internal rhyme (rhyme within the lines) used as well as personification and frequent enjambment to convey the speaker’s train of thought. • Gives the narrative a feeling of prose - lots of run-on lines, not much rhythm. • Rhythm in the ideas too, as concepts build on one another and become clear to the reader.

Tone • A conversational feel created with asides and interjections (interruptions) of added or qualifying information. Effect = intimacy between the speaker and listener. • Conversational tone – since we notice the story we almost forget how horrific and weird the events are.

Comical or Serious? • With comical undertones, a wide range of emotions is expressed through the persona of Mrs Midas as she speaks out against her husband’s foolish actions and gradually separates herself from him. • She leaves him to waste away in isolation while she laments the loss of their physical relationship and the chance to have a baby together to fulfil their dreams.

Allusion • When in one piece of literature, there is a reference to another piece of literature, literary idea or well-known reference. • No specific explanation is required in the text and the reference is therefore loaded with connotations and ideas. • There are many allusions in this text.

Stanza 1 It was late September. I’d just poured a glass of wine, begun to unwind, while the vegetables cooked. The kitchen filled with the smell of itself, relaxed, its steamy breath gently blanching the windows. So I opened one, then with my fingers wiped the other’s glass like a brow. He was standing under the pear tree snapping a twig.

• Statement of fact = sets scene. • “September” = peak of autumn, suggesting environment is golden as we associate vibrant colour change of leaves etc with this time. • However, is also representative of things coming to an end: autumn is the beginning of death and deterioration, which extends into winter an ominous start to the poem. It was late September. I’d just poured a glass of wine, begun to unwind, while the vegetables cooked. The kitchen • Together enable Duffy to create calming atmosphere, and emphasise the domestic environment within which Mrs Midas exists. • Stereotypical housewife? This is the expected scene she doesn’t differ from the image of the idyllic American housewife, instead reinforces it. • She is relaxed here, though relaxed tone.

Odd expression but still somewhat calming reinforcing this sense of expectedness because we associate with the smell of home Word Choice • Reflects Mrs M’s mood as she unwinds, reinforcing calm atmosphere. • Positive connotations of peace and harmony this is again an idyllic moment for her. filled with the smell of itself, relaxed, its steamy breath gently blanching the windows. So I opened one, Personification • Makes it seem as though the kitchen is cooking, alongside Mrs M. • “Steamy” = connotes discomfort and heat, introducing idea that role is not something she feels comfortable with though. • “Breath” = quite intimate, reinforces her close proximity to the kitchen/cooking is she uncomfortable? ? ? As “breath” sometimes has negative connotations? ? • This is a cooking method and it also refers to a person losing their colour. • Here, it suggests that the windows are being whitened by steam. • Does she feel as though this lifestyle is draining her life of ‘colour’? (Colour important in Mrs T’s Class life-giving almost, yet her it could be draining? )

Simile • Introduces importance of sense of touch to Mrs M – she is later no longer able to touch Midas. • Seems to long for this physical interaction, as though she is experiencing a lack of emotional/physical intimacy. • “Brow” = very close to eyes, ‘eyes are the window to your soul’ she is looking for a way in? • Suggests that both Mrs M and the kitchen are sweating suggests and creates tension. then with my fingers wiped the other’s glass like a brow. He was standing under the pear tree snapping a twig. • Atmosphere = shattered by this act. • Connotes violence and aggression. • Harsh consonant sounds in final phrase contrast with softer consonant and vowel sounds earlier in the stanza. • However, this is a seemingly ordinary act, being somewhat concealed by the condensation on the windows will become important later on.

Quick Quiz 1. 2. 3. 4. 5. 6. 7. Which classical myth is this poem based on? How does this poem differ to this myth? Who does the poem focus on? What is their perception of their partner? Describe the use of tone in the poem. What is an allusion? Is there a misogynistic undertone to this poem (thus far)? Explain your answer using references to the text, if possible, to support it.

Stanza 2 Now the garden was long and the visibility poor, the way the dark of the ground seems to drink the light of the sky, but that twig in his hand was gold. And then he plucked a pear from a branch. – we grew Fondante d’Automne – and it sat in his palm, like a lightbulb. On. I thought to myself, Is he putting fairy lights in the tree?

• Mr M’s disbelief over what is happening = emphasised by the length of time she takes to comprehend what she is seeing. • ‘fingers wiped’ the window in stanza 1. Now the ‘visibility poor’. • Blames the condensation for misinterpreting his actions. Now the garden was long and the visibility poor, the way the dark of the ground seems to drink the light of the sky, • Underlined sections • Illustrate how dark it is. • Sets up contrast between the dark night and the light created by the transformation of the pears into gold. Personification • Sounds ominous. • Reflects the idea of life being drained from something is it Mrs M’s life force or someone else's? • “Drink” = connotations of being drained, exhaustion, and of being consumed. What is being consumed? Mrs M’s hope? We don’t yet know. • Light vs Dark reinforced here clear battle between the two.

• Signals the beginning of a series of odd occurrences. • Contrast between lack of light in first two lines and brightness of ‘gold’ twig and, later, pear ‘like a lightbulb. ’ • Gold = alludes to what is to come, connotations of wealth/greed etc. but that twig in his hand was gold. And then he plucked a pear from a branch. – we grew Fondante d’Automne – • “Plucked” connotes forcefulness can this describe him as a character? • “Pear” = symbol of fertility and health, immortality and longevity. • Taking the pear from the tree therefore may symbolise destruction and mortality – the destruction his decision has caused. • Represents, perhaps, beginning of disintegration of relationship. • This is a type of pear. • Adds verisimilitude to the story (makes situation seem more realistic) + invokes engagement from reader

Simile • Conveys the shape of the pear, as well as reintroducing theme of light vs dark as emphasises brightness of pear. • Seems unnatural – and perhaps symbolises Midas realising the truth. • Light = connotations of realisation, purity, goodness etc however is this golden pear truly a positive symbol? Positive symbol therefore contrasts with reality of situation. and it sat in his palm, like a lightbulb. On. I thought to myself, Is he putting fairy lights in the tree? Single word sentence • Adds dramatic effect and emphasises her confusion/disbelief. • She is now realising that things are not as they should be, and is somewhat shocked. • This is crucially important to her understanding of the situation. Question • Reinforces her confusion/disbelief about what is going on. • She is seeking a rationale for what she is seeing, but cannot find one.

Stanza 3 He came into the house. The doorknobs gleamed. He drew the blinds. You know the mind; I thought of the Field of the Cloth of Gold and of Miss Macready. He sat in that chair like a king on a burnished throne. The look on his face was strange, wild, vain. I said, What in the name of God is going on? He started to laugh.

“He” • The name ‘Midas’ is not mentioned. • Perhaps reflects the blame Mrs Midas puts on her husband for his decision. • Puts distance between them she is separate from his mistake. He came into the house. The doorknobs gleamed. He drew the blinds. You know the mind; I thought of • An example of the effect of his golden touch: turns the doorknobs into gold. • “gleamed” = beautiful description, but also has negative connotations of fleetingness, of being temporary this will not last. ** Collection of short sentences list his actions as he returned to the house. • Very matter-of-fact Mrs M is stating what happened. • Suggests, again, emotional distance from the situation ‘this was his doing, not mine’. • Also indicative of slow realisation, in that Mrs M slowly watches as everything happens/occurs.

• Refers to the site of a historic meeting near Calais (France), where the Kings of France and England met in 1520. • Both monarchs built opulent, lavish palaces adorned with gold. • She has realised now what is happening, and has been aided in piecing the puzzle together by recalling a history lesson she had at school, delivered by Miss Macready. • Compares Midas’ decision to an ostentatious show of wealth develops a criticism of his decisions. the Field of the Cloth of Gold and of Miss Macready. He sat in that chair like a king on a burnished throne. • • • “King” = powerful, ruler, authoritative. “Burnished” = gleaming, lustrous, shiny. This throne = representative of his wealth + grandeur. Reinforces fact that everything he touches turns to gold. Continuing with a critical tone here.

• Midas is described as king-like. • His look reflects his greed and selfishness as well as him contemplating what has happened. • All have negative connotations fact that these words are listed together enables Duffy + Mrs M to highlight their judgement. • “Wild” particularly powerful, as suggests out of control foreshadowing what will inevitably happen if he cannot control his ‘gift’? • Implication that his greed now consumes him. The look on his face was strange, wild, vain. I said, What in the name of God is going on? He started to laugh. • Question again reflects Mrs M’s disbelief. • A stereotypical ‘wifely’ response reinforces Mrs M’s stereotypical role in this. • She has no autonomy, no insight, no power this has been given to Midas. • Representative of misogyny being deeprooted in society – a commentary on how this hasn’t really changed as this is a modern re-telling of the story. • Callous response • Representative of his mind -set – he is selfish and has made a decision for his own betterment. • Has he become corrupted by this new-found power? Or has he always been like this?

Stanza 4 I served up the meal. For starters, corn on the cob. Within seconds he was spitting out the teeth of the rich. He toyed with his spoon, then mine, then with the knives, the forks. He asked where was the wine. I poured with a shaking hand, a fragrant, bone-dry white from Italy, then watched as he picked up the glass, goblet, golden chalice, drank.

• Comical tone created by the fact she still goes about her domestic chores + serves the meal, despite what is happening. • Short sentence = matter of fact she is telling us what happened. • Perhaps a coping mechanism? She can control this aspect of life/the evening? • Appropriate choice of food – visually fitting (colour – yellow turns to gold) • Yellow = veneer/fake way of life • Gold = wealth, grandeur, luxury • Changing from yellow gold = increase in status + wealth: he becomes more ‘real’ in this process I served up the meal. For starters, corn on the cob. Within seconds he was spitting out the teeth of the rich. • Metaphor • Illustrates how the kernels turn to gold in his mouth. • Horror of what is happening becomes apparent – Midas can’t even eat. • Represents the fact that his greed and desire for wealth has brought him to this, and highlights the negative aspects of his “gift”.

Word Choice • Suggests that he still does not understand the gravity or significance of what has happened. • Connotations of childishness, immaturity representative of his mind-set/character. • He made the wish on a whim, didn’t think about the consequences, and will suffer massively as a result. List • One thing after another, reflects growing realisation of Mrs M. • Takes us through situation step by step orients us in story. • “Mine” draws reader in. He toyed with his spoon, then mine, then with the knives, the forks. He asked where was the wine. • Reinforcing sense of indulgence, greed and consumption – he is intoxicated by his own wealth. • He expects to be served – reinforces gender stereotypes prevalent in this text. • This is a statement critical/abrasive tone here. • Clear that Mrs M is not happy with his response + frivolity. • Creates contrast between 2 characters.

• This detail suggests her emotion: she is feeling overwhelmed + anxious. • We are led to question whether or not she trusts her husband is this fear of the future or fear of him? • If latter, reinforces idea that this relationship = dysfunctional. • Narrator continues to inject a chilling reality into the narrative by giving more details about the wine. • Adds verisimilitude once more. • “Bone-dry” = negative connotations of death etc which add a sinister element to the text. • Foreshadowing the demise of Mr M? I poured with a shaking hand, a fragrant, bone-dry white from Italy, then watched as he picked up the glass, goblet, golden chalice, drank. Triplet = Alliteration/ Harsh consonant sounds “G” • Adds to the drama / seriousness of the situation. • A ‘chalice’ often associated with the last supper – foreshadows his inevitable demise/ending? • Repetitive sounds in the words using blend of vowels with letter “L” highlights luxury. • Also reflect the increasing status of the vessel as it becomes more suited to a king. • List mimics his “gift” orients reader in Mrs M’s world as it acts as a way to show us what she sees. • Glass goblet = transition from ‘commoner’ to ‘king’ • Also representative of fact that he is now closed off from Mrs M emotionally.

Stanza 5 It was then that I started to scream. He sank to his knees. After we’d both calmed down, I finished the wine on my own, hearing him out. I made him sit on the other side of the room and keep his hands to himself. I locked the cat in the cellar. I moved the phone. The toilet I didn’t mind. I couldn’t believe my ears:

• Dramatic opening to stanza as both accept full reality of what has happened. • ‘Scream’ demonstrates Mrs M’s horror, while Midas ‘sank to his knees’ in despair. • Drama is created by omission of what made her scream. This omission makes the reader assume the worst possible outcome. • Both are very overwhelmed by the situation. It was then that I started to scream. He sank to his knees. After we’d both calmed down, I finished the wine • Horror / Shock is combined with comedy – it seems absurd that both would be ‘calmed’ so quickly and that Mrs M would continue with her drink. • Fact she finished her drinks 1 st suggests her nervousness at situation.

Fact she is willing to hear him out suggests that she does still long for a close/intimate relationship with him. on my own, hearing him out. I made him sit on the other side of the room and keep his hands to himself. • Suggestion that Midas still seeks a physical relationship with Mrs M. • The fact that he is made to sit on the other side of the room represents the distance in their relationship brought on by circumstances. • Also introduces her fear of Midas’ ‘gift’ and how it may impact her.

• Short Sentences introduce humour/comedy once again, and speed up the narration making her actions seem immediate and urgent. • This is enhanced by the simple, factual language she uses. • She is concerned for her cat’s welfare, just as she is concerned for her own. I locked the cat in the cellar. I moved the phone. The toilet I didn’t mind. • She feared what might happen to • Does this suggest care the cat and the phone, but was for her own welfare (selffine with sitting on a golden toilet. centredness), that she • Suggests that she too is lured in by doesn’t want to be the call of ostentation + without a phone? Or materialism. practicality?

Stanza 6 how he’d had a wish. Look, we all have wishes; granted. But who has wishes granted? Him. Do you know about gold? It feeds no one; aurum, soft, untarnishable; slakes no thirst. He tried to light a cigarette; I gazed, entranced, as the blue flame played on its luteous stem. At least, I said, you’ll be able to give up smoking for good.

Enjambment • Reflects Mrs M’s disbelief as she hears the confession from Midas. • Contributes to the drama of the story we want to know what she couldn’t believe. • Pause helps to create a story-like feel, but also mimics Mrs M pausing for breath when hearing the truth, reinforcing disbelief + shock. Contributes to colloquial tone. I couldn’t believe my ears: how he’d had a wish. Look, we all have wishes; granted. But who has wishes granted? Him. Antanaclasis (when same word is repeated, but in two sentences a type of pun) • Play on words evidence of Mrs M’s intelligent verbal humour. • Destroys pace + rhythm momentarily, mimicking again Mrs M pausing to process information, and attempting to reorder her own thinking about the situation. Rhetorical Question Implies that dreams are naïve – except for “him” “Him” = monosyllabic, one-word, minor sentence. • Isolates Mr M once more he is separate from her. • Dismissive tone introduced here. Both techniques enable Mrs M to develop a sense of disgust @ Midas.

Another rhetorical Question • Emphasises fact that Mrs M thinks the wish was outrageous. • “You” includes reader engages us and makes us think about our own understanding of gold. Do you know about gold? It feeds no one; aurum, soft, untarnishable; slakes no thirst. • Latin word for ‘gold’ • Demonstrates her intelligence she is beginning to show off. • Lists how valueless gold is. • Again, she is stating the foolishness of her husband. • The point is clear: gold may look attractive, and may signify wealth, but it has no practical use for us in everyday life.

• Still taking reader through the motions allows us to be a part of the experience. • “Entranced” connotes magic, of being enthralled and mesmerised: she is beginning to show signs of being consumed by ostentation. • “Luteous” = means yellow/golden and is derived from Latin. • We worry for her is she becoming intoxicated by the call of wealth? • This captivation is surprising as she condemned gold for being useless moments before. He tried to light a cigarette; I gazed, entranced, as the blue flame played on its luteous stem. At least, I said, you’ll be able to give up smoking for good. • Humorous ends criticism of gold and contrasts this critical tone with a joke. • She is taking a positive from a horrible situation indication of her resilience? • Or has she too been captured by the desire for wealth, and is trying to find positives to justify accepting the decision Midas has made?

Stanza 7 Separate beds. in fact, I put a chair against my door, near petrified. He was below, turning the spare room into the tomb of Tutankhamun. You see, we were passionate then, in those halcyon days; unwrapping each other, rapidly, like presents, fast food. But now I feared his honeyed embrace, the kiss that would turn my lips to a work of art.

** The remainder of the poem continues to highlight the damage Midas’ gift has done to their relationship. ** Minor Sentence/Short Sentence • Highlights change in relationship they have now separated. • This was not surprising, though, as there has been a palpable distance between them throughout the poem this just provides a solid barrier between the two. • Illustrates her fear of her husband. Separate beds. in fact, I put a chair against my door, near petrified. He was below, turning the spare room into the tomb of Tutankhamun. Further emphasises their separation he was on a separate floor. • Fear is reinforced in Enjambment these lines. • Emphasises the extent of his ‘gift’ he has turned the room to • “petrified” continues gold. the humorous tone, • Tomb of an Egyptian pharaoh, splendidly gilded. There was a as it literally means to celebrated exhibition in London in the 1960 s of all of his be ‘turned to stone’ treasures. she is scared that • In a similar way, their spare room will now be filled with she will be turned to treasures/memories of past. gold. This word sums • Emphasises all that she has lost. up her main fear. • Similarly, the assonance of the ‘oo’ sound emphasises this point too.

Do Now 1. How does Duffy emphasise the separation between Mrs Midas and her husband? 2. How is enjambment used within the text? 3. What tone is developed throughout the course of the poem? How does it emphasise the key ideas?

• “You see” = conspiratorial tone, as she is letting the reader in on a secret about their love life continues informality of poem. • Refers back to when they were previously emotionally and sexually together. • “Then” emphasises the fact that these days are gone no longer the case. You see, we were passionate then, in those halcyon days; unwrapping each other, rapidly, like presents, fast food Signposts a perfect time in the past she longs for it. • Again, suggests their once close sexual relationship. • “presents” + “fast food” = transient (consumed quickly), just like their relationship. • “Fast food” = has connotation of being instant, and unsatisfying she was never satisfied by him in their relationship, again highlighting disposable quality of their passion. ** A change of mood begins here as a note of tenderness starts. The realisation that they must live separate lives is horror for a woman who clearly loved her husband. **

• Conjunction “but” indicates change in direction. • She now fears his touch. • “Honeyed embrace” = double entendre combines sexual connotations of “honeyed” along with its now deadly connotations. • Metaphor suggests both sweetness and something gold-coloured. • ‘Honeyed’ also perhaps suggests something excessively sweet, almost cloying? But now I feared his honeyed embrace, the kiss that would turn my lips to a work of art. • Reinforces change in relationship she once longed for the “honeyed embrace” • But it is clear that Midas’ sexual advances can now only make her beautiful, but no longer human she will lose her life in the process • Emphasises sinister side to this phrase although sounds positive, it hints at the destructive consequences of Midas’ power.

Stanza 8 And who, when it comes to the crunch, can live with a heart of gold? That night, I dreamt I bore his child, its perfect ore limbs, its little tongue like a precious latch, its amber eyes holding their pupils like flies. My dream milk burned in my breasts. I woke to the streaming sun.

** Mrs Midas expresses her sadness of being deprived of the opportunity to have a real baby tone becomes sombre + melancholic ** • “And” not only begins new sentence but also new stanza, isolating and highlighting the irony. • Here, Duffy subverts the cliché. • ‘A heart of gold’ usually means caring but here there is also the suggestion of a literal heart of gold. • Perhaps also implies he is hard-hearted, and implies the difficulties of living with perfection. And who, when it comes to the crunch, can live with a heart of gold? That night, I dreamt I bore his child, • She is longing for something she can no longer have. • Emphasises all that she has lost in this relationship. • Get a clear sense of her heartbreak at this fact the novelty of Midas’ gift has well and truly worn off.

• Word choice = delicately beautiful set of images to evoke the imaginary gold-child. • Presents us with an idyllically attractive description of the baby she dreamt of. • A fear of the child is communicated through the strangeness of its description. • “Amber” = golden colour • “holding their pupils like flies” = fossilised in the amber resin suggests death in life she cannot have a normal child. its perfect ore limbs, its little tongue like a precious latch, its amber eyes holding their pupils like flies. “Like a…latch” She wants something that she feels connected to, because she has not had this in her relationship for so long.

Folios out please!!

• Sadly, her milk will remain only a dream too as long as her husband has this gift. • Alliteration plosive “b” emphasises frustration. • “Burned” = Her dream makes her feel a physical pain. • “dream milk” = compound noun conveys longing for child. My dream milk burned in my breasts. I woke to the streaming sun. • Personification of “streaming sun” = reminder that she is constantly surrounded by gold. • Alliteration “S” suggests the power of the sun: is this a moment of enlightenment/realisation? • This poignantly reminds us that each day she will awake to a world in which gold dominates every waking moment.

Stanza 9 So he had to move out. We’d a caravan in the wilds, in a glade of its own. I drove him up under the cover of dark. He sat in the back. And then I came home, the woman who married the fool who wished for gold. At first, I visited, odd times, parking the car a good way off, then walking.

Short Sentence • Mrs M bluntly informs us how the consequences of the myth and the effect on their lives continues to destroy their relationship. • Suggestion that this is because of their passion she couldn’t stop herself from wanting his touch, so had to physically move him away to avoid temptation. • However also underlying fearful of touch and what it would do to her So he had to move out. We’d a caravan in the wilds, in a glade of its own. I drove him up under the cover of dark. He sat in the back. • She takes her husband into hiding stowing him away from the world. • Is she ashamed? Or keeping his ‘gift’ for herself? • “Glade” = positive connotations of peace and tranquility has he finally found peace? Indicators of the contemporary setting - verisimilitude. • This indicates their separateness once again. • Mrs Midas is in control and her husband is driven by her decision that he had to leave power has shifted in this relationship.

• Blames Midas for his stupidity in making the wish, and distances herself from the woman she used to be. • “Fool” = negative connotations of disdain, stupidity + frustration introduces bitter/angry tone. • Clear that Mrs M is angered by his choice introduction of yet another criticism • However, is she blaming herself for being in this situation in the 1 st place it is her fault she chose to marry him? And then I came home, the woman who married the fool who wished for gold. At first, I visited, odd times, parking the car a good way off, then walking. • Do these statements compound her callousness? • Or is this understandable behaviour? • Either way, emphasises considerable distance kept between the two, as well as her fear of his gift. • “At first” suggestion that doesn’t really visit anymore

Stanza 10 You knew you were getting close. Golden trout on the grass. One day, a hare hung from a larch, a beautiful lemon mistake. And then his footprints, glistening next to the river’s path. He was thin, delirious; hearing, he said, the music of Pan from the woods. Listen. That was the last straw.

• Here we see Midas’ loneliness as he attempts (unsuccessfully) to eat and drink on his own. • Mrs M continues to present images of this solitary, distanced, detached separate lifestyle as she describes the single golden items she discovers on her walk from the parked car to her husband. You knew you were getting close. Golden trout on the grass. One day, a hare hung from a larch, a beautiful lemon mistake. • Word choice used to emphasise the extent of his ‘gift’ reinforces idea that ‘gold’ is all around.

• “Glistening” = reinforces extent of gift • Eye-catching/mesmerising Mrs M is still entranced by the gift, however is no longer disillusioned by it – she knows what it has cost her. And then his footprints, glistening next to the river’s path. He was thin, delirious; hearing, he said, the music of Pan from the woods. Listen. That was the last straw. • Mrs M describes Midas he is in a sorrowful state, demonstrating that he too has been affected by the consequences of his gift + subsequent isolation. • He is filling his time, but is unfulfilled. • Thin physical emaciation as he cannot eat • Delirious mental deterioration Allusion • This associates him to another Greek god, this time the isolated figure of Pan, who was the god of shepherds and flocks. • Midas is becoming more attuned to the classical roots of his condition, or is fusing with the mythological original. • We note the irony that a gift so equated with wealth and prosperity should result in such emotional poverty. Mrs M has reached her limit consequences of Midas’ gift have worn her down to the point where she cannot endure it anymore.

Stanza 11 What gets me now is not the idiocy or greed but lack of thought for me. Pure selfishness. I sold the contents of the house and came down here. I think of him in certain lights, dawn, late afternoon, and once a bowl of apples stopped me dead. I miss most, even now, his hands, his warm hands on my skin, his touch.

• This final stanza helps give the poem a universal meaning. This seems to be a poem about a woman who loves her husband even though they can never be together. • In the end, the poet is reminding us that the myth of Midas, normally only viewed in connection with how it affected Midas and his life, also affected his poor wife. • The final stanza stresses Mrs Midas’ anger at her husband’s ‘pure selfishness’ in making a wish that has not only affected him but also deprived them both of any physical relationship and his wife of a chance to have her dream baby. • Lack of thought = main reason for deterioration of relationship: would if have been different if he had consulted with her first? What gets me now is not the idiocy or greed but lack of thought for me. Pure selfishness. I sold the contents of the house and came down here. Short Sentence • Reinforcing anger at Midas’ selfcentredness • However, reader left to wonder if she is selfish too, in throwing Midas out of the home, and putting herself first? • Implies double-standards: one expectation of her husband, another for herself. • A loss of material items this is the thing that she focuses on when discussing what she has lost. • Suggests that she too was enamoured by his ‘gift’, but resents it forced her into giving up basic pleasures. • Emphasises her selfcentredness/materialism

• She thinks of him frequently and things she sees can remind her of him and of what she has lost. • Stresses fact that, although separate, she longs for him however maybe more concerned with the idea of what she has lost, than actually losing Midas. I think of him in certain lights, dawn, late afternoon, and once a bowl of apples stopped me dead. I miss most, even now, his hands, his warm hands on my skin, his touch. Repetition ‘hands’ • Emphasises too that his touch, once a potent symbol of their intimacy, is now lost forever they once had a loving relationship, and she feels empty without it. • Reminds us that, unlike human skin to skin contact, gold is cold and hard, and their relationship is dead. Syntax places emphasis on “his touch” • The last word is the most significant, and emphasises the importance she placed on their physical intimacy, above all else. • However, in this one poignant sentence, she remembers fondly their once full, physical relationship and mourns its passing. Even after all her anger has been unleashed, she is still left alone with nothing but a wistful, regretful sense of loss for the man she married.

Themes? • Has our understanding of the main themes changed? • How does Mrs Midas compare thematically with the other poems we have read thus far?

Themes • • • • Loss Isolation/ distance Nostalgia Love Passage of time Loss of identity OR finding it Change Greed Observation of people and/or place Disgust/disappointment Safety/security Deterioration of relationships Deterioration of self/person

Analysis Questions 1. With close reference the text, explain how theme of loneliness and solitude is developed. (4 marks) 2. How is comparison used to develop the key ideas/themes of the text? (4 marks) 3. How is theme of wealth and/or greed developed in the poem? (4 marks)

Greed • Greed is certainly a recurring theme as this is what motivated Midas to make his wish in the first place. • The damaging effects are portrayed throughout with both husband wife, in the end, being left alone to suffer the effects of wishing to possess a substance which ultimately feeds no one.

Consequences of our actions is a prevalent theme as both Midas and his wife pay the price of not really taking the time to deliberate and think through what would follow if they chose one action over another.

Loneliness and solitude • Loneliness and solitude are all that is left for both characters by the end of the poem as a result of one selfish act. • A life of solitude is chosen as soon as Midas is granted his foolish and selfish wish.