Carol Anne Duffy and Sheenagh Pugh both use their poesy to compose about young person and the procedure of turning up. Although the write about many of the same thoughts. such as the thought that the old quarry upon the artlessness of young person. their different attacks to the capable affair mean that the verse forms are frequently immensely different. In Lizzie. six. Carol Anne Duffy presents a dysfunctional relationship between a immature miss and a adult male. perchance her male parent or step-father. Duffy presents the contrast between maturity and young person through the usage of two voices which contrast starkly with one another. The child’s voice begins with a really pleasant tone. with simple yet happy linguistic communication. Wordss such as “moon… fields…love” are all really non-threatening. and connote a certain freedom. if merely the child’s freedom of imaginativeness. However. the tone of the child’s voice bit by bit becomes more baleful. until the concluding line “I’m afraid of the dark” . In add-on to the common intensions of black stand foring evil and isolation. this could mean the alteration in the kid. who. as she is turning up is forced to lose her vernal imaginativeness and wonder as a consequence of the maltreatment she suffers.

The construction of Lizzie. six besides creates tenseness. The division into five stanza’s of equal length. each with one inquiry. the child’s reply and two lines of the adult’s response create an acute sense of repeat. and the perennial humdrum of the construction echoes the insistent nature of kid maltreatment. which seems in this verse form to be intensifying. The fact that the concluding word of each stanza – “there… chair… stair… bare… care” rhymes adds to this dull throb of repeat. The contrast between the voice of Lizzie and her maltreater is utmost. and possibly Duffy wished for this contrast to reflect the alterations one goes through in the passage from kid to adult. One technique which highlights the contrast is the usage of the same word by the kid and grownup. For illustration. “deep in the wood / I’ll give you wood” shows the devastation of vernal artlessness and creates an highly baleful tone. which in bend is designed to upset the reader. Sheenagh Pugh approaches the thought of the contrast between young person and maturity in a different manner in her poem Sweet 18. This verse form is written as a first individual soliloquy. which makes the content more sinister and flooring to the reader as Pugh is exposing thought’s which would normally stay concealed.

This verse form besides disturbs the reader. but unlike Duffy Pugh introduces the thought of a sexual relationship between the young person and adult female. However. Pugh’s Sweet 18 is similar to Lizzie 6 in that it presents the grownup as destructing the young person. This is possibly most evident in the line “of a immature sapling / utilizing his life. sucking it out of him” . This is clearly stating that. if given the opportunity. the old and mature can destruct the immature. Lizzie six is non the lone verse form in which Duffy raises thoughts environing young person. Boy is a first individual soliloquy presented from the position of a adult male who wishes he was still immature. This verse form focuses on the security most people feel when they are kids. and the line “The universe is terror” clearly demonstrates that this voice has non made the usual passage from male child to teenager to adult male. and psychologically he feels more like a kid. The character’s mental child-like province is conveyed by Duffy through a mixture of linguistic communication and his usage of short sentences. In this verse form some sentences comprise of merely one sentence. “Just like that. Whoosh. Hairy. ” . and this simple construction undertakings the thought that the character feels like. and therefore negotiations like. a kid. However. in the last two stanzas the tone of the verse form becomes a little more baleful. First. Duffy suggests that this adult male had been in a sexual relationship with a adult female who he called “Mummy” .

This breaks a rigorous societal tabu refering parents. kids and sexual relationships. and as a consequence of this the reader is slightly aghast and disturbed. In the concluding stanza the voice alterations reasonably dramatically “Now it’s a inquiry of acquiring the diction right for the Lonely Hearts verse” . Written in the 1980s where the alone Black Marias were the equivalent of Internet dating. the voice all of a sudden becomes more mature. and is about brusque in tone. This reminds the reader that the character is non a male child. and one time once more adds a more baleful dimension to a capable affair – childhood – which would usually be considered guiltless. every bit good as doing the Lonely Hearts adverts. which are frequently ridiculed. a agency for this disturbed single to reach others. Sheenagh Pugh’s verse form ‘She was 19 and she was bored’ focal points on a miss who grew up incorrect. as opposed to Duffy’s ‘Boy’ who ne’er grew up at all. There is no hint of artlessness in this character. who. at age 19 was hardly out of adolescence. Pugh’s usage of initial rhyme in the line “murderous crew of mediocrities” simulteaneously presents her as a normal miss with a flicker of immorality which was ignited. Whilst the artlessness of young person was long destroyed for this miss. Pugh does convey her vernal heedlessness. and an inability to weigh up the effects of her actions.

However. though reprobating the miss – “it’s no alibi she did what we might” – the concluding lines of the verse form do propose that there was person or something else which helped her go the malicious and evil guard. The words “those who made her” implies that others. likely older than her. perchance those who influenced her childhood. were guilty in assisting to make a immature adult female capable of perpetrating atrociousnesss. who left the guiltless security of childhood far behind. Finally. Duffy presents the thought that it is the responsibility of the grownups who surround kids and adolescents to educate them. In her verse form “Comprehensive” Duffy uses ventriloquy to follow seven separate voices. which creates a multi-dimensional verse form and besides conveys the thought of a multicultural thaw pot for all races and faiths. However. whilst the adolescents have the capacity to cognize and understand each other and each other’s civilizations. Duffy shows that they are pitifully nescient about one another. The construction of the verse form. with one stanza. creates a clean infinite on the page between each voice. which could be symbolic of the spreads between the voices socially.

The words “Paki-bashing… he’s a spot dark” show the reader that unless the young persons are taught about each other by seniors so the superficial differences between them can make fright and tenseness. It is possible that through the contrast of the rubric “comprehensive” and the ignorance the childs demonstrate Duffy is proposing that it is the responsibility of grownups to learn kids more than mathematics and scientific discipline. that they should besides learn childs tolerance and apprehension. This thought is developed in Pugh’s “Geography was particularly taught” . This verse form reveals the ideas of a individual retrieving lessons from their young person in a soliloquy. The most telling line in the verse form is “a people popular with testers. because they fit nicely into half a term” .

Although this is still a line within the soliloquy. it appears that a small of Pugh’s ain voice emerges here with the message that grownups should non make up one’s mind what kids learn based strictly on easiness of learning. and that instruction should be a rounded experience for immature people. Pugh’s message is made even stronger by the words “I should state ‘weren’t” . This reveals that in the hereafter where this character now lives the Masai no longer be. This truly reinforces the message of both Pugh and Duffy: that instruction should be designed to learn immature people approximately life every bit good as topics like scientific discipline. otherwise the immature will turn into nescient grownups. by which clip it will be excessively late. Overall. Duffy and Pugh’s poesy carry similar messages in footings of young person. such as the security of childhood. the breakability of guiltless young person and how easy it can be broken by grownups. and the message that grownups are neglecting in their responsibility to educate immature people exhaustively about society.

Tom Stoppard’s ‘Arcadia’ is a multi-faceted drama which contains a huge array of thoughts. The subjects of scientific discipline and maths run throughout the full text. and are immensely of import both in footings of the secret plan and symbolism. The conflicting thoughts of free will and determinism cause great sum of confusion and argument throughout Arcadia. with assorted characters taking different stances at assorted phases in the drama. Thomasina – the child mastermind of Sidley Park – disputes Newton’s theory of determinism – whereby theoretically the actions of the hereafter could be predicted by plotting every atom in the present. In this infusion she declares “Newton’s machine which would cognize our atoms from cradle to sculpt by the Torahs of gesture is uncomplete! ” This is extremely important. as Thomasina is touching upon the thought which the characters in the present twenty-four hours Sidley Park argue. whereby heat – an drawn-out metaphor throughout the drama for sex – alters the deterministic way. This argument between determinism and free will is literally expressed through Valentine’s grouse surveies. as he explains why a bantam action in Thoamasina’ twenty-four hours could hold huge effects out of all proportion ; viz. the pandemonium theory. The pandemonium theory is Pointcare’s development of Newton’s basic determinism. and is still a deterministic theory.

However. it is inherently so complicated that it appears to be random. On page 62 Valentine declares “the unpredictable and predetermined unfold together. It’s how nature creates itself” . This apparently complex system really goes along manner in explicating why Bernard has such jobs seeking to unknot Sidley Park’s enigmas. as the smallest action – such as Septimus firing the missive from Byron – can stunningly change events. Therefore. through the presentation and usage of maths. Stoppard non merely emphasises Thomasina’s mastermind ( she begins thought which others will merely believe of two centuries subsequently ) . but besides begins to explicate the grounds behind the drastic – and frequently screaming misreckonings on behalf of those at the modern Sidley Park. Furthermore. on page 116 Thomasina goes on to advert the heat equation which “cares really much. it merely goes one way” . This heat equation is a changeless throughout the drama. as in Act 1 Scene 1 Thomasina first notes that “you can non stir things apart” . The thought that within scientific discipline heat will merely travel one manner is highly important. as Stoppard reveals that Septimus is finally driven mad by the fact that the heat equation will merely travel one manner. and that when everything is room temperature the universe will decease.

This is revealed by the contemporary characters when Hannah notes “it was frenchified mathematik that drove him to the melancholic cocksureness of a universe without life or light” . In this Stoppard presents scientific discipline non merely as a universe of great new find. but besides shows the desolation it can convey. Septimus’ death into compulsion with the heat equation and its scientific discipline besides contrasts strongly with his grounds for looking into the equation – his love for Thomasina. Through this inextricable nexus. Stoppard shows that scientific discipline and love are non the polar opposites the audience may first presume ; they may both take to great success and felicity or devastation. The fact that heat is besides a metaphor for sex besides means that Thomasina’s line of page 111 “the action of organic structures in heat” is a euphemism with sexual intensions. and besides cements the bond between Thomasina’s scientific heat equation and Septimus’s love and eventual diminution. Stoppard besides prevents the battle between nature and scientific discipline. This is possibly most noteworthy with respects to the Sidley Park gardens. the unobserved background the sex. maths and scientific discipline is the house. The “Improved Newcomer Steam Pump” and the difference between Lady Croom and Noakes refering the transmutation of the garden from a symmetrical Neoclassicist Eden to a Romanticist wilderness is peculiarly notable.

As the steam pump controls and affects its natural milieus. Stoppard is utilizing it as a metaphor to show the thought that scientific discipline regulations nature. This thought is one time once more introduced through Thomasina’s chew overing that “if there is a curve like a bell. there must be an equation for one like a wild hyacinth. and if a wild hyacinth why non a rose? ” This thought that nature must be ruled by scientific discipline and Numberss. albeit scientific discipline we are non yet capable of groking. is a cardinal subject throughout the drama. and reflects and mirrors the argument refering logical neoclassicism versus wild and unmanageable romanticism. Stoppard’s usage and presentation of scientific discipline is non limited to the Sidley Park in the 1800s. Valentine’s grouse equations besides question whether scientific discipline regulations nature or if nature is independent of Numberss and maths. Despite kicking of “distortions Interference. Real information is messy” it appears that here excessively science finally regulations nature.

Slightly paradoxically. it is the natural object of a simple “apple leaf” which sparked Thomasina’s thought. and possibly this inspiration from a natural object is a glance of Stoppard’s ain position that a universe incorporating strictly scientific discipline or strictly nature is non complete. and that it is merely when the two elements are combined that the universe can be content. knowledge complete and the truth eventually exposed. In decision. Stoppard uses maths and scientific discipline in many different ways to make confusion and temper. to oppugn whether scientific discipline regulations nature. and to oppugn whether actions are our ain or our pre-determined fate. Somewhat ironically. it is Arcadia’s heroine and mathematic mastermind Thomasina who inquiries determinism. that meets her destiny in the hell at Sidley Park the dark before her 17th birthday.