Analysing the poem ‘Belfast Confetti’ by Ciaran Carson
I can explain how Carson uses language, form and structure to convey a sense of the chaos and horror of The Troubles.
Analysing the poem ‘Belfast Confetti’ by Ciaran Carson
I can explain how Carson uses language, form and structure to convey a sense of the chaos and horror of The Troubles.
Lesson details
Key learning points
- Enjambment and caesura are used to create a chaotic atmosphere.
- Rhetorical questions are used to represent the speaker's inner conflict.
- The speaker's struggle to speak may represent the lack of voice civilians have in conflict.
- The street names link to soldiers and battles from the Crimean War, illustrating that The Troubles were a 'war' too.
- Carson uses lots of words linked to speed and urgency to convey a sense of fear and chaos.
Common misconception
'Belfast Confetti' is a metaphor created by Carson in this poem.
The term 'Belfast Confetti' was used during The Troubles to refer to the homemade bombs used in the fighting. They were called this because they were filled with shrapnel which, when detonated, sprayed in the sky like confetti.
Keywords
Enjambment - the continuation of a sentence beyond the end of a line, stanza or couplet
Caesura - a pause or a break in a line of verse, often marked by punctuation
Civilians - non-military individuals, often not involved in armed conflict or combat situations
Volatile - unstable, liable to change rapidly, unpredictable or explosive in nature
Chaos - complete disorder or confusion, lack of organisation or control; a turbulent or disordered state
Equipment
You need access to a copy of ‘Belfast Confetti’ by Ciaran Carson. This can be found in the Edexcel Poetry Anthology (we will be using the ‘Conflict’ cluster).
Content guidance
- Depiction or discussion of violence or suffering
Supervision
Adult supervision recommended
Licence
This content is © Oak National Academy Limited (2024), licensed on Open Government Licence version 3.0 except where otherwise stated. See Oak's terms & conditions (Collection 2).
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