Classic and Contemporary Poetry: Explained

Andrew Motion's poem "Picture This: For the 100th Birthday of Queen Elizabeth the Queen Mother" is a lyrical reflection on the life of a figure who, over the course of a century, became emblematic of endurance, tradition, and public duty. Through a series of vignettes spanning key moments in her life, Motion captures both the public and private aspects of the Queen Mother's existence, using the metaphor of photography to explore how her image has been shaped, preserved, and remembered by the collective memory of the nation.

The poem begins with the speaker's dream, likening the Queen Mother's birthday to a wedding. This comparison sets the tone for the poem, suggesting a blending of celebration and solemnity, a union of the past and the present, and a merging of personal and public identity. The image of the "August sky / confused with confetti" evokes a festive atmosphere, yet the substitution of confetti with "photograph-falls" introduces the idea that her life has been extensively documented, her image repeatedly captured and scrutinized by "the century's eyes."

Motion then takes the reader on a chronological journey through significant periods of the Queen Mother's life, starting with her childhood in 1905. The stanza "1905: CHILDHOOD" evokes a pastoral, almost idyllic scene, with the blackbird's song and the "lichen blistering the drive" symbolizing the passage of time and the persistence of nature. The mention of Glamis, the Scottish castle that was her childhood home, anchors her in a world of tradition and stability. However, the imagery of "side-saddle on your boxy grey / inside the moment as it froze and held" hints at the beginning of her life being captured and preserved, a moment crystallized in memory, with the implication that her life was always destined to be observed.

As the poem progresses to "1914-18: SERVICE," the focus shifts to the impact of World War I, a time when the Queen Mother, like many of her generation, was touched by the realities of war. The reference to "Hawtrey at the Colly" suggests a semblance of normalcy, yet the "people-torrent" outside reminds us of the broader chaos and the personal losses she endured. This period marks a transition from the sheltered life of childhood to a world that is expanding and changing irrevocably.

"1923: MARRIAGE" captures the Queen Mother's union with the future King George VI, a moment of personal and public significance. The stanza evokes the glamour and optimism of the era, with "Jazz, New Look, new plunging necklaces," but also hints at the responsibilities that come with royal life, as love "keeps its nerve" and becomes "a soft advertisement." The marriage is portrayed as a moment of transition, where personal emotions are interwoven with the expectations of a public role.

The "1937: CORONATION" stanza addresses the solemnity and weight of becoming Queen. The imagery of "chairs into thrones" and "people to subjects" underscores the transformation of roles and the burden of monarchy. Motion subtly intertwines the personal and the political, as the Queen Mother's "tender" face bears the "load" of the crown, while the world around her—marked by "Guernica crumbling" and "fire in Palestine"—is fraught with conflict and suffering. This juxtaposition highlights the tension between the ceremonial aspects of monarchy and the harsh realities of the time.

The poem then moves to "1940: BLITZ," capturing the Queen Mother's role during World War II. Here, she is depicted as one with the people, standing among the ruins of the East End, her presence offering comfort and solidarity. The line "you as one of us" emphasizes her identification with the suffering of ordinary citizens, a key aspect of her legacy. The imagery of destruction— "roof-spars, earth-in-shreds"—contrasts with the Queen Mother's resolve and the hope she symbolizes to those around her.

In "1952: WIDOWHOOD," the poem shifts to a moment of deep personal loss, marked by the death of King George VI. The Queen Mother's grief is portrayed with stark imagery—"basalt blackness" and "the fossil-face of grief"—conveying the intensity of her sorrow. Yet, even in this moment, she is conscious of the public gaze, the "camera-pops" that accompany her every step. The metaphor of the tightrope walker captures the precariousness of her position, balancing personal grief with public duty.

The later stanzas, "1960: THE FAMILY" and "1997: LATE ON," reflect on the Queen Mother's role as the matriarch of the royal family and a symbol of continuity. The imagery of "winter poppies," "Spring in May," and "grassy Ascot drive" evokes the cyclical nature of life and the passage of time. Despite the changing world, the Queen Mother's image remains consistent— "No changes, on the face of it"—highlighting her role as a steady, reassuring presence in the public consciousness.

The poem concludes by returning to the initial metaphor of a wedding, emphasizing the persistence of love and the enduring nature of the Queen Mother's legacy. The "century's eyes" that have captured her image over the years are a testament to the respect and affection she commanded, not just as a queen but as a figure of resilience and grace.

"Picture This" is a deeply reflective poem that honors the Queen Mother's life by weaving together personal memories and historical moments, capturing the essence of a woman who became an enduring symbol of steadfastness in the face of changing times. Through rich imagery and a careful interplay of public and private narratives, Andrew Motion pays tribute to a century of life marked by duty, love, and unyielding strength.

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