'Listening Piece Commentary, English Language and Literature Essay\r'

'My listening audience piece of music was exalt by the obsolescent man in Poe’s Tell Tale Heart, musical theme evil by the takeoff rocket, but disposed(p) no voice to express himself. My protagonist is an elderly character with a pitch-black side, similar to Angela Carter’s in The Werewolf. To subtly fall apart this hidden personality I adopted the style of Alan Bennett’s soliloquy Playing Sandwiches where he gradually builds doubt of the speaker, ultimately revealing the horrible truth. I created a radio monologue told from the tie-up of an elderly bird, intended to make the listeners mean about the secrets that lie hidden git closed doors in regular flock’s broods, typical of the Gothic. The exposition of my piece introduces the bird as a kindhearted soul: ‘I’m puritanic; Miss Hawking doesn’t live here anymore’. I utilise apologetic politeness ‘I’m sorry’ to encourage listeners to like th e character. The bad auxiliary verb ‘was’ makes her speech sound essential ‘Had herself a nice feller likewise; they was having a baby together’, as does the colloquial lexis ‘feller’. The visitor is a dramatic device to allow the lady to speak her thoughts.\r\nWhen she talks of romance, the protagonist’s verbiage is more like a written story than spontaneous speech, ‘ then(prenominal) he held her that night, under the moon, with the stars all shinin’ from above.’ She uses preaching markers, lexis like a romance novel, and schematic romantic imagery of the moon and stars, suggesting that she has vie it over and over in her head. Because this is a monologue, the visitor’s presence is only implied by the protagonist’s speech. alternatively of stage directions my protagonist says everything requiremented to call for the action ‘No, no, you needn’t take your stead off ‘. The rep etition of the negative ‘No, no’ and the lack of back-channeling begin to reveal her un have it offn side, sounding a bit in addition firm with her requests while covering it with a polite tone.\r\nCumulative word study: 317\r\nFrom here I slowly reveal her darker side making listeners question her knowledge of the couple, and her mental health: ‘the milk’s been in there a lesser too long I’m afraid.’ To construct her mental breakdown in the line, ‘I, I, Sorry, I don’t know what’s come over me’ I used a false start-off to show her nervousness and fear, and the adjective ‘sorry’ to echo her opening line. Her identity is revealed when she transfers from instant to first person in mid-sentence ‘She love you … and you turned me into this’.\r\nI implied that she has been tracking him since he left in a series of photographs in a locked way of life personifying her feelings: Ã¢â‚¬Ë œThe room won’t forget’. Her change in cash register, ‘She was pretty, for a whore… You asshole’ with taboo lexis unnerves the audience because it subverts expectations of how an old lady should speak. Writing this piece has crystalised the remnant between spoken and written language for me; in creating it I felt the need to say it out loud to train the voice accurately reflected the speech of an old lady. Overall I believe I did so effectively as the register change at the end is sort of striking.\r\n'