1、 Introduction

Carol Anne Duffy, as the first female poet laureate in the UK, has portrayed multiple anti traditional female characters in her poetry, such as the "whore by the water", Salome, Medusa, etc. These characters are known as "madwomen" due to their deviation from patriarchal cultural norms. Daffy's poetry is considered to subvert patriarchal society through literary metaphors, rather than simple female chauvinism. Her creations were influenced by the feminist movement of the 1960s and became a representative of post feminist thought. In Duffy's poetry, women escape the constraints of patriarchal culture through physical struggle, pursuing freedom and pleasure, reflecting the themes of "imprisonment" and "escape" in 19th century women's works. This article will analyze the poetry of Daffy in different periods, combined with body theory, to explore the process of women's imprisonment, escape, and transcendence in patriarchal discourse, as well as the formation mechanism of women's madness and the reasons for awakening independence, revealing the development of Daffy's feminist thought.

2、 Women's Imprisonment: The Silent Body

In Western traditional culture, women are often seen as the "other" and "object" of men, and their bodies become the focus of power control. Although the feminist movement in the 1960s improved the situation of women, they were still at a disadvantage in many fields. Daffy's poetry collection "Standing Naked Woman" exposes the survival dilemma of women under patriarchy. The novel 'You, Jane' depicts the male protagonist's violent sexual assault on his wife through his monologue, reflecting phallus centrism and male chauvinism. In the poem, the husband sees his wife as the object of satisfying his desires, and her silent body reveals her subordinate position in the family. The poem of the same name "Standing Naked Woman" depicts the plight of women in the public sphere from the perspective of nude models. The model's body is gazed upon and objectified by male painters, becoming a commodity for sale. The survival dilemma and arduous efforts of the model are ignored, while her physical changes reflect the hunger and unfulfilled state of women in patriarchal society. Whether in the home or the studio, women remain in a silent state of nudity, rationalizing men's expectations. The female model was gazed upon, depicted, distorted, and evaluated, ultimately becoming the "whore by the water" in the museum, drowning out her protests and reflecting the subjectivity anxiety of female writers. Duffy expressed his anger towards male hegemony by writing about the physical confrontation between the sexes. The wife and model in the poem, although silent, resist and deconstruct the female image imposed by men through restraint and irony.

3、 Women's Escape: The Body of Resistance

In Carol Ann Duffy's poetry, women resist the oppression of patriarchal society through the special strategy of madness. Daffy's poetry collection "The World's Wife" rewrites classic myths and fairy tales, shaping a series of female images with insane powers, such as Shakespeare's wife, Little Red Riding Hood, Salome, Medusa, and Valkyrie. They not only break the silent and submissive image, but also destroy the gender shackles imposed by men. In the poem 'Medusa', Medusa goes insane due to her husband's betrayal, and her ugly image is an indictment of the patriarchal society. In "The Legend of the Condor Heroes", Duffy rewrote "The Legend of the Condor Heroes" by replacing female characters with powerful female gorillas, subverting traditional gender roles. In 'Pope Joan', Duffy exposes the lie that 'women cannot approach God (truth)' through Pope Joan's monologue, revealing the true situation and power of women. Daffy's poetry reflects the anxiety and fear of female writers towards patriarchal society, while also expressing their desire for women's liberation. Although Daffy's works are considered to have a feminist color, her goal goes far beyond that. She hopes to achieve emotional diversity through poetry, promote women's physical and mental liberation and healthy development.

4、 The Transcendence of Women: The Body of Enjoyment and Creation

In the 1980s and 1990s, post feminists advocated transcending gender opposition, emphasizing individual development and women's freedom, and promoting the peaceful development of gender relations. In Duffy's later poems "Ecstasy" and "The Bee," female characters transcend gender boundaries, enjoy physical pleasure, and affirm their own value. In 'The Forest', women and their lovers enjoy love and desire equally, and build harmonious relationships between the sexes. Daffy opposes labels based on sexual orientation, and in his poetry, the relationship between the sexes moves towards reconciliation, transcending the rationality of love. In Lida, Duffy rewrites traditional sexual assault narratives, emphasizing women's self-awareness of their own bodies and gender harmony. Daffy's poetry deconstructs traditional historical views through female body language, affirming the important role of women in the formation of civilization. The female body image in later poetry indicates that Daffy transcends gender opposition and moves towards a new era of mature and confident women.

5、 Conclusion

The evolution of the image of the "madwoman" in Duffy's poetry, from silence to rebellion, and then to pleasure and creation, showcases the emotional journey of women from imprisonment to escape. These images challenge patriarchal discourse, subvert society's preconceived expectations of women, and promote the reconstruction of women's self subjectivity. Daffy's poetry has autobiographical elements, but through parody and rewriting classic works, it transforms personal emotions into public experiences, embeds historical traditions, and achieves a universal "non personalized" approach. This makes her poetry have a profound impact on women in the era of globalization.