Valentine by Carol Ann Duffy

 Valentine by Carol Ann Duffy

Not a red rose or a satin heart.

I give you an onion.

It is a moon wrapped in brown paper.

It promises light

like the careful undressing of love.

Here.

It will blind you with tears

like a lover.

It will make your reflection

a wobbling photo of grief.

I am trying to be truthful.

Not a cute card or a kissogram.

I give you an onion.

Its fierce kiss will stay on your lips,

possessive and faithful

as we are,

for as long as we are.

Take it.

Its platinum loops shrink to a wedding ring,

if you like.

Lethal.

Its scent will cling to your fingers,

cling to your knife.

Introduction:

Carol Ann Duffy's poem "Not a Red Rose or a Satin Heart" is a striking departure from traditional love poetry. Instead of the conventional symbols of love, such as roses or hearts, Duffy presents her lover with the unlikely gift of an onion. This unconventional choice sets the tone for a bold and unflinching exploration of love's complexities, stripping away romanticized notions and embracing a raw, unvarnished truth.

Through vivid imagery and extended metaphors, Duffy crafts a multi-layered work that invites deeper contemplation of love's many facets – its passion, its pain, its endurance, and its inextricable link to human vulnerability. The onion serves as a powerful symbol, its layers and potent qualities mirroring the intricacies and intensities of love itself.

About Author : 

Carol Ann Duffy was born in the Gorbals (Glasgow) on 23 December 1955, the first child of May (née Black) and Frank Duffy; May was Irish and Frank had Irish grandparents. They subsequently had four sons, and moved when Carol Ann was six to Stafford, where her father worked for English Electric and managed Stafford Rangers Football Club in his spare time. Duffy attended Roman Catholic primary and middle schools, and then Stafford Girls’ High.

Her early passion for reading and writing was encouraged by two of her English teachers, and developed by the poet-artist Adrian Henri (one of a trio of Liverpool poets whose work was famously anthologised as ‘The Mersey Sound’ in 1967), with whom she lived romantically from the age of 16 until 1982. She went to the University of Liverpool, and obtained a degree in Philosophy in 1977. 

Having already published three poetry collections – Fleshweathercock and Other Poems (Outposts, 1974), Beauty and the Beast with Adrian Henri (a pamphlet, 1977), and Fifth Last Song (Headland, 1982), she became more widely known when she won the National Poetry Competition in 1983, and an Eric Gregory Award the following year. As she commented for the Poetry Society website about twenty-five years later: ‘In those days, one was still called a “poetess” – so it meant a lot, as a young woman poet, to begin to try to change that. And- oh girls, just look at us now…’

Themes:

1. The Nature of True Love: 

A central theme of the poem is the notion that true love is not merely a superficial or idealized construct, but rather a profound and sometimes painful experience that demands honesty, vulnerability, and a willingness to embrace the complexities of human emotion. Duffy rejects the traditional trappings of romantic love, such as roses and satin hearts, in favor of the onion's raw, unadorned essence, suggesting that genuine love requires a level of authenticity and truthfulness that transcends societal conventions.

2. Love's Intensity and Passion: 

Throughout the poem, Duffy employs vivid imagery and metaphors to convey the intense and passionate nature of love. The onion's "fierce kiss," its ability to "blind [one] with tears," and its "lethal" scent all speak to the overwhelming power of love's emotions – its capacity to consume, overwhelm, and even inflict pain upon those who experience it.

3. Vulnerability and Self-Reflection: 

The act of peeling an onion, with its accompanying tears and the distortion of one's reflection, serves as a potent metaphor for the vulnerability and self-reflection that love often demands. Duffy suggests that true love requires a willingness to confront one's deepest emotions, to embrace the discomfort and self-examination that comes with such vulnerability, and to emerge transformed by the experience.

Motifs:

1. The Onion:

 The onion is the central motif of the poem, a recurring symbol that Duffy uses to explore the various facets of love. Its layers, pungent scent, ability to induce tears, and seemingly humble appearance all contribute to the rich tapestry of metaphors and meanings woven throughout the work.

2. Light and Illumination: 

The imagery of light and illumination is a recurring motif, exemplified by the "moon wrapped in brown paper" and the onion's promise of light. This motif suggests the revelatory and transformative power of love, its ability to shed light on the deepest recesses of the human experience and to illuminate the path toward greater self-awareness and understanding.

Symbols:

1. The Onion:

 As the central symbol of the poem, the onion represents the multifaceted nature of love itself. Its layers symbolize the complexity and depth of love, with each layer revealing new dimensions and truths. The onion's pungent scent and ability to induce tears symbolize the intensity and emotional rawness of love, its capacity to evoke powerful reactions and sensations.

2. The Wedding Ring: 

The image of the onion's "platinum loops" shrinking to a wedding ring symbolizes the enduring commitment and fidelity that true love demands. It suggests that love, like a marriage, requires a willingness to weather its challenges, to embrace its complexities, and to remain steadfast in the face of adversity.

3. The Knife:

 The mention of the knife, and the onion's scent clinging to it, serves as a symbol of the vulnerability and potential for harm inherent in love. Just as a knife can both prepare nourishment and inflict injury, love can nourish the soul while simultaneously exposing one's deepest vulnerabilities and risking emotional pain.

Conclusion:

Carol Ann Duffy's "Not a Red Rose or a Satin Heart" is a powerful and thought-provoking meditation on the true nature of love. By eschewing traditional romantic symbols and instead presenting the unlikely gift of an onion, Duffy invites readers to confront love in its most raw and unvarnished form. Through vivid imagery, extended metaphors, and a masterful exploration of themes such as authenticity, passion, vulnerability, and self-reflection, Duffy crafts a work that challenges conventional notions of love and encourages a deeper contemplation of its complexities.

The onion, with its layers, pungent scent, and ability to induce tears, serves as a potent symbol for the multifaceted and intense emotions that love can evoke. Duffy's use of this unlikely symbol is a testament to her skill as a poet and her commitment to exploring the depths of the human experience with unflinching honesty.

Throughout the poem, Duffy's language is rich and evocative, her metaphors striking and thought-provoking. The recurring motifs of light and illumination suggest the transformative power of love, its ability to shed light on the most hidden corners of the soul and to guide one toward greater self-awareness and understanding.

Ultimately, "Not a Red Rose or a Satin Heart" is a celebration of love in its most authentic and uncompromising form. Duffy's willingness to confront the complexities and vulnerabilities inherent in love, and her rejection of idealized romantic tropes, make this poem a powerful and enduring exploration of one of the most fundamental human experiences.

Through her masterful use of language, imagery, and symbolism, Duffy invites readers to embrace love in all its messy, complicated, and ultimately transcendent glory, reminding us that true love demands nothing less than the courage to be vulnerable, the strength to weather its storms, and the unwavering commitment to embrace its depths, no matter how painful or uncomfortable the journey may be.