SONG- GEORGE SZIRTES

‘Song’ The title of the poem is relatively ambiguous, particularly as there is extensive crossover
between poetry and songs within literature, although it does indicate that the form and rhythm of
this poem will be one of its most important aspects. The subtitle of the poem states that it is “for
Helen Suzman” which indicates that this is an elegy (an elegy refers to a poem or song in tribute to a
person, whereas the more commonly used term eulogy refers to a speech or written tribute to an
individual). Helen Suzman died aged 91 in 2009 after a long life campaigning against the South
African apartheid, meeting Nelson Mandella and achieving international recognition for being one of
the few vocal advocates for change within the country’s white minority. Her campaigning and
advocacy is one of her key qualities which is reflected within ‘Song’ through links to activism and
freedom of speech.
Poem Structure
A key aspect of ‘Song’ is the way in which it is a highly cyclical poem, with many different elements
and phrases repeated and reflected. With six stanzas, an ‘even’ reflection is achieved between the
first and last, and second and fifth stanzas, with the third and fourth in the middle being more
individual and unique. The use of italicised text can also be referenced, as this would indicate to a
reader that it is meant to be sung, or read in a more rhythmic and fluid way. The way in which this
‘bookends’ the central part of the poem could be very effective for a reader, as it makes all parts of
the poem more memorable through the shifts in tone and rhythm, while also showing that the
middle two stanzas are where a key message of the poem resides.
The use of sound is also an important factor, which would likely be expected with the title being
‘Song’ although some of the specific sounds may be interpreted as unlikely choices. For example,
there is the repeated use of “buzz” where the use of onomatopoeia would be noticeable to a reader,
helping to build emphasis on this particular word. Similarly, there is an end rhyme pattern for the
first and last stanzas in which this same sound is used, which is very effective at building sound,
particularly one that could be interpreted as ‘rising’ and therefore demonstrating ideas in the poem
which relate to joint action and activism.
By being a poem so focused on the sound of words and sentences, the use of end-stopped lines and
caesura is an important part of the poem to consider. It is notable that there are very few caesura,
with most pauses taking place in the form of end-stopped lines. As such, this makes the few caesura
even more noticeable and effective for the reader, such as the breaks in the fourth stanza where
there is a clear list. As part of the ‘reflection’ of the opening stanzas at the end of the poem, one of
the key differentiating features is the presence of caesura, such as “hands, however small” and even
on the last line with “Of nothing happening. Then something does.” This is very effective at breaking
the expected flow of the poem, which some readers may interpret as representing the break in
ordinary life as a result of the loss of Helen Suzman, or alternatively to add emphasis and the idea of
strength to the sentences through this more precise and controlled phrasing.
Poetic Techniques
Clear imagery helps to build upon the various key ideas in ‘Song’ with descriptive language helping to
control the potential interpretations a reader is likely to have. For example, the description “one
pale feather tip // the balance on a sinking ship” is notable due to the use of adjectives and verbs.
Similarly, the use of contrasting ideas and images in particular with this description will gain a
reader’s attention due to the unusual imagery. A key message within ‘Song’ relates to how small
individual actions can act as a tipping point to change, for which this description works very well and
a reader is likely to understand successfully due to the clear descriptions.
Another important technique in the poem is the use of semantic fields, in particular ones which can
be interpreted as linking to the power of states, governments or organisations against individuals or
SONG- GEORGE SZIRTES
protestors, with words such as “oppose” “crushed” and “hushed”. The various negative
connotations of these words act as a contrast to the power, which is indicated from others, such as
“weight” “fate” and “voices”. As such, the reader may identify these contrasting semantic fields and
consider the implications and inferred meaning, perhaps focusing on the way that the poem can be
seen to support change and activism, which would be very fitting due to its dedication to Helen
Suzman.
While there are various metaphorical descriptions in the poem in addition to the range of structural
techniques, it can be seen that there are a fewer number of poetic devices. As such, the presence of
the simile “the heart like a weight begins to lift” is made more noticeable to a reader, with added
importance due to the infrequency of poetic devices. Some readers may find that the order of words
in this simile is more confusing than, for example, ‘like a weight, the heart begins to lift’. This would
indicate that this line is specifically phrased in order to draw emphasis to “heart” and “lift”
(particularly as “lift” continues the rhyme scheme). The focus on these words can once again be
associated with various positive connotations as part of the semantic field of power from joint
action.
Important Lines
“A lot of small hands in a monstrous hall”
The use of “monstrous” is very effective because not only is it a very striking image, the multiple
syllables and sibilance would make it very noticeable to a reader. The way that this world builds from
“small hands” is also interesting in the idea that this is an audible representation of individual
elements coming together to make something more powerful and striking.
“the broken voices of the hushed”
Both “broken” and “hushed” can be interpreted as having negative connotations, and the use of
“broken” to describe “voices” would be quite an interesting description for a reader because it could
imply very strong emotions, or alternatively the idea of someone being denied their right to freedom
of speech and expression. Both of these ideas would be very applicable to the campaign work
undertaken by Helen Suzman.
“a lever, a fulcrum, a weight”
The idea of the “lever” is a very important part of ‘Song’ and one which Szirtes has previously
explored on his blog. This relates to the idea by Archimedes regarding how a long lever and a
fulcrum (the object the lever is rested against) would enable him to move the entire world, which in
turn is based on the laws of mechanics. As such, this concept can be interpreted as being a
metaphorical representation of how an individual voice and action can have a huge and lasting
impact on society and the world as a whole.
‘Song’ Key Themes
Power: ‘Song’ mixes ideas of individual power with collective societal power, specifically in how
individuals can take action and cause change which while initially it may seem inconsequential, it
actually has very powerful repercussions and impacts.
Society and Culture: Helen Suzman’s activism and work throughout her life had a huge impact upon
wider society in South Africa, so it is natural that this elegy reflects that through incorporating ideas
about society and the way that individuals can have an impact, specifically through descriptions such
as “A lot of small hands” and “Then something does.”

The poem consists of three parts. The first and the third parts are reflections of each other and
SONG- GEORGE SZIRTES
contain a repeated quatrain, one at the beginning the other at the end. The shapes and rhymes of
the second verse are echoed but not fully reproduced in the second-from-last.
The first verse, a quatrain, is about activism itself, how an idea or movement begins with relatively
few people who don’t seem to be accomplishing much until their activity reaches a break-through
point when it becomes fully effective. The quatrain expresses admiration for such people. It uses the
same rhyme with one repetition. Such repetitions are typical of song and I was aware from the start
that a common song-like quality was the way to go.
From the buzzing of the first verse to a series of instances in the second whereby small, apparently
insignificant acts lead to great unexpected effects, especially in the case of the feather and the
sinking ship. The sinking ship has some relation to the old image of the state as a ship, in this case
one about to go down.
The third verse looks for precedents, suggesting that this is how change has always come about. The
misery of the poor and oppressed reaches a critical mass articulated by spirituals, anthems and rebel
songs.
The fourth verse uses the example of the lever. The source is Archimedes who said: ‘Give me a lever
long enough and a fulcrum on which to place it, and I shall move the world.’ He was referring to
physical reality, the laws of mechanics, but the phrase has often been used in a metaphorical sense.
The idea appeared in the middle of the poem and I decided to run with it. It wasn’t going to be there
from the start.
The fifth verse (a partial mirror of the second) joins the image of hands applauding to that of the
lever and fulcrum and refers to the sense of encouragement, the physical raising of the heart, which
is the point of the verse as a whole.
Funnily enough I think it is the curious notion of the heart as a physical object that may be raised by
levers and fulcrums is what makes the verse a poem. It is a faint echo of the Metaphysical poetry of
Donne and Marvell.
The last verse is simply the chorus restated.
The poem aims to avoid the heavy-handedness and predictability of dull verse by leaning as fas as
possible towards poetry, so that despite having an apparently strict form and firm rhymes, ideas
should arise and develop organically. I genuinely didn’t know where the poem was likely to go (think
of Robert Frost’s idea of surprise) but I did know what I think.
I was recently asked in interview what the message of my poems was. My answer was that I don’t
have a message and that (to echo someone else’s answer) if I did I would write a letter not a poem.
In the case of Song however there is a pretty clear message: persist, act together, you can do more
than people think, you can change the world. Indeed I could just have written that. But by
introducing form and imagery (an improvised imagery) I hoped the message might carry some of the
freshness of discovery. Rhyme, stanza, imagery and wit can lend freshness. They can turn a message
into an anthem or at least a kind of inner music. But it is the physical raising of the heart that is the
discovered truth of the poem. It is the poem’s ‘nightingale’.
Nevertheless, I still feel slightly uncomfortable with it because I distrust simple messages. I began as
a poet by distrusting the broad and simple, hoping instead to discover more complex, more
contradictory truths, truths that actually were true. I wanted the nightingale in the middle of the
dark wood not the rhymed prescription.
 SONG- GEORGE SZIRTES
This poem is not about a dark wood: it is about people putting their shoulders to the wheel. But
above all it is about levers that raise hearts.

‘Song’ by George Szirtes ‘celebrates small actions which, cumulatively, can make a
difference . It is dedicated to the South African white liberal activist, Helen Suzman
(pictured), who campaigned all her adult life against the apartheid system. This is the
context for a poem which honours the collective power of protest.

The title ‘Song’ suggests the poem’s effect will have sound patterns central to it.

STRUCTURE
 Rhyme and repetition – “lever…fulcrum…a weight” , although not repeated words,
they are repeated ideas that reinforce the premise that this is a song. They are also nouns
that relate to physics and movement. This movement may echo that Helen Suzman
wanted change for people
 The poem is split is split into three sections which mirror the basic
chrous/verse/chrous structure of a song – symbolic because it shows how Suzman
wanted change and she wanted everyone to know this. A song can be taught and passed
on by word of mouth which everyone is capable of partaking in. The choruses reinforce
her philosophy of wanting everyone to work together and start a process of change. The
chorus celebrates specific people doing things for change.
 The central two stanzas develop and comment on what’s presented in the first and
third sections
LANGUAGE TECHNIQUES
 Repetition “weight”. The weaving of repeated and near repeated words through the
poem suggests a gathering momentum
 Enjambment – Also explores the sense of shift in the short lines which provide a
hiatus as the eye and mind hang briefly in the air before landing on the solid ground of
the next word
IMAGERY
 The poem insists that a single voice or hand, when joined with others, can begin to
affect change.
 Chnge is explored through opposing ideas of heaviness and lightness – the feather
that can “tip/the balance” of a sinking ship followed by “weight”
TONE
 It is a hopeful tone one of working and moving forward throughout and then
securing hope in the fact that the conclusion of the poem changes and this may echo
those around
CONCLUSION
 The most important tipping point in the poem is the one between ‘nothing’ and
‘something’. This comes to fruition in the final stanza when the crucial change takes place
from ’till’ to ‘then’. The process of transformation has begun with the alteration of a
single word which changes the meaning of the line completely. In doing so, Szirtes
brilliantly demonstrates in words exactly the kind of small ct his poem champions: form
and meaning become indivisible
SONG- GEORGE SZIRTES
Poems that would be good to link to this would be…
 Eat Me – major change
 History – turning point
 Lammas Hireling –
change/transformation
 Fox in National Museum – structure
 Genetics – Both have a very strong