How are feminism motives evident in poem No Thank You, John?
No Thank You, John, is made up of eight quatrains. Six of which follow the pattern of iambic tetrameter within the first two lines of the stanza (four stressed syllables and four unstressed syllables), which is followed by a line of iambic pentameter (5 stressed and unstressed syllables) and the last line of the stanza only consists of six syllables. This helps to create a rhythm in the poem, adding to the colloquialism and light-hearted approach. However, stanzas four and five do not follow the same syllable pattern as the other stanzas. This creates a noticeable discourse for the reader and highlights a turn in mood. This takes place when the speaker takes up a sharper tone with ‘John’ as he, presumably, suggests that the speaker has ‘no heart.’ She then goes onto to insult John. This change in rhythm helps the reader to realize that there is a change in the speaker’s tone. It also makes those stanzas more difficult to read as it does not follow the same rhythm. This may come as a shock to the reader, which represents the shock that John felt like the speaker bites back at him. Both Interview and Difference of Opinion consist of only one stanza. This means that the poem might be more attractive to a reader at first glance as they know that they do not have to commit too much time to read it. The interview has ten lines, eight of which follow iambic tetrameter, which follow one after the other. Each of these lines describes a thing that a lady should possess in order to be admired by a man. The fact that these lines specifically contain eight syllables suggests that these ladies are all similar in a copycat like way. However when the speaker mentions herself in the first, which has nine syllables, and the last line, which has seven, it creates a disruption and a separation. The speaker is trying to show that she is different to these women, and therefore does not conform to the anti-feminist, sexist ideals of a woman in the 1920s.