The fourth stanza is full of sensuous description. The child’s gentle breathing is barely audible, like ‘moth- breath’, while the give a pretty image of the sheets and the wallpaper in the room. She may even be comparing the baby’s ears to roses. The mother strains to hear the child’s breathing: ‘I wake to listen’. The silence in the room is compared to the sound of the sea in the distance: ‘A far sea moves in my ear.’ The ‘far sea’ could also refer to her old, childless life, which seems so distant to her now.
any notion of motherhood being glamorous. Her depiction of her post- baby body with milk-swollen breasts is realistic and honest: ‘One cry, and I stumble from bed, cow-heavy Her maternal instinct means that after one cry from the child she rushes to tend to her. She deliberately describes her nightdress as ‘Victorian’, that is, old-fashioned, because what she is doing, caring for her child, is as old-fashioned and traditional as can be.
‘The window square// Whitens and swallows its dull stars.’ The child cries to be fed and the miracle of birth is celebrated: ‘And now you try/ Your handful of notes;/ The clear vowels rise like balloons.’ The use of the word ‘balloons’ is festive and celebratory. Uncertainty and vulnerability have been replaced by ‘song’ is the baby’s little voice.