Degas’s Laundresses: Structure & Language Techniques

Structure of “Degas’s Laundresses”

“Degas’s Laundresses” unfolds in a linear manner, mirroring the progression of a work day. The structure mirrors the themes of repetitive, mundane work inherent to the subjects of the painting.

The poem consists of four stanzas, each with its own distinct theme or subject. The varied length and structure of the stanzas reflect the uneven rhythms of the laundresses’ work.

Boland utilizes detailed, sensory imagery to bring to life the laundresses’ gruelling work day. The stark descriptions strive to illuminate the otherwise invisible labor of these women.

Boland uses work tools like the iron and the chemise as symbols to further highlight the harsh reality of the laundresses’ lives.

The repeated phrase “so much to do” emphasizes the endless cycle of domestic labour. This repetition underscores the poem’s theme of the oppressiveness of repetitive, burdensome work.

Boland’s use of sensory language, often appealing to touch and smell, further immerses the reader in the oppressive conditions of the laundresses’ environment.

The technique of contrast and juxtaposition is particularly vivid in Boland’s adjective use – “unlit” versus “lit”, “warm” versus “cold”. It helps to convey the harsh, contrasting reality of the laundresses’ work conditions.

“The Shadow Doll”: Both poems explore the oppressive conditions of women’s lives, with Boland using everyday objects (a doll, household tools) to delve into deeper thematic explorations.
“It’s a Woman’s World”: Like “Degas’s Laundresses”, this poem explores the repetitive, uncelebrated domestic tasks that assemble much of a woman’s life, challenging traditional notions of heroism and accomplishment.
“Outside History”: Both poems employ intensive imagery and sensory details to present a stark commentary on female reality, focusing on those that history often overlooks or marginalizes.
“The War Horse”: Boland’s tendency to observe the violent or harsh realities within the ordinary surfaces in this poem too, making it a possible analytical companion to “Degas’s Laundresses”.