The reappearance of the word "tinned" makes a picture that is relatively tough. Slough is sung in the conservative quatrain system, with verse outline of AAAB. Betjeman’s convention of three rhymes in every lyric puts in a satirical musical excellence to a song relating a place the same as “Hell” and the smaller fourth line of every lyrics take steps as a termination of the quatrain. These are smaller instruments that used in music added force in song. Slough is alienated into ten musical instruments, demonstrating there is abundance of knowledge to express about this region (Betjeman 1930). The song has a usual appearance, dazzling Betjeman’s determination and willpower to have the rest blustered to “smithereens”. While numerous of Betjeman’s songs are concerning his love of scenery, Slough shows his detestation of this region. This is obvious from the start, where he solicits for “responsive bombs, get nearer plunge on Slough.” The combination of “welcoming” and “bombs” are sardonic, and cover a Hellish picture, of the region, and this is continued with words like “Death”, “mess” as well as “Hell.” In addition, the descriptions of the song is brutal and horrifying, “They’ve experienced Hell”, and “dried up it in the artificial air”, auxiliary totaling to the unhelpfulness of Slough that was also shown by the music. Lyrics War descriptions are widespread, from the recurrence of “tinned”: “tinned fruit, tinned milk, and tinned bins”, which makes the representation of portion and constraint.
Betjeman subsequently embodied this with “tinned minds, tinned breath”, entailed that it is not now the region that is awful, other than the people as well. His communal spoof carries on when he talks about “that man by the twofold chin” and “the hairless youthful clerks”, additional ongoing the “disgusting” account of Slough. The people, similar to the location, are expressed fiercely, with duplications of “demolish” (www.johnbetjeman.com). The concluding lyrics duplicate the line of the song to emphasize the dreadfulness of it. It finishes with a memo of serenity, because if Betjeman has anticipated the bomb to have decayed. When the last row, “the earth exhales” is finished, the listener thinks the bursting sense of the “Hell” and revulsion that has been obvious all through. Sir John Betjeman’s song, Slough, undoes with magnificent, theatrical lyrics. There is enormous worry among the notions of cows grazing as well as the thought of death. Yet in the aperture line there is argument ‘friendly bombs’ is a negation in terms, because bombs are approximately on no account consideration of as responsive, and Betjeman’s employment of this describes what a awful location. Another instrument Betjeman uses is rhythm; the lyrics is at a stable, predefined speed awaiting the last line anywhere the rhythm is broken down with the word ‘Death’, which offers a influential picture of Slough. In the second lyrics, Betjeman cunningly contrasts people ‘minds’ in addition to ‘breath’ to tinned goods, offering all a emotion of clean tediousness, devoid of clean air. A novel song has been sung for Slough as fraction of John Betjeman's centennial merriment. Felt tip by a Slough young woman, the new poetry is an optimistic sacred song of honor for life in the Berkshire town in 2006 in straight compare to the previous singer laureate's somewhat unenthusiastic sight sung back in