Examining The Work Of Gwen Harwood English Literature Essay Free Essay

Harwood ‘s work has ever maintained cosmopolitan entreaty in its ability to joint the indefinable in her dealing with subjects that are per se relevant to human experiences. As Strauss describes, Harwood efficaciously ‘plays with Manichaean boundaries, whether they be boundaries between life and decease, present and past ‘ as a agency to joint her contemplations and this is brooding in many of her verse forms.

‘Father and Child ‘ delves into the loss of childhood artlessness and eventful lessons on life and decease following her facing brush.

In ‘Barn Owl ‘ , the character comes to larn after firing the first shooting of her male parent ‘s gun that decease is an ‘obscene buddle of material that dropped, and dribbled through loose straw tangling in bowels ‘ . The violent, in writing imagination evoke feelings of repulsion which highlights the monstrous nature of decease, being that of drawn-out hurting and anguish. Thus the kid articulates a deepened apprehension of the exposure of life, the conclusiveness of decease, and the sorrow in taking away a life. This hideous perceptual experience is contrasted to Nightfall which portrays decease as a natural, inevitable result that can be peaceable. This diptych construction provides didactic lessons as noted by Hoddinott who praises Harwood ‘s “ ability to interweave yesteryear and nowadays as one of her most dramatic gifts ” . In Nightfall, the poet is no longer a kid, but has matured and engendered an credence of decease as portion of the rhythm of life through the Christian allusion to heaven ‘times promised land ‘ . The metaphor ‘since there is no more to savor, ripeness is obviously wholly, father we pick our last fruits of the temporal ‘ recounts the male parent ‘s fufilled life and shows that the power of decease is superseded by the ageless nature of their memories. The intertextual allusion to King Lear ‘Old King, your fantastic journeys done ‘ heightens the respondent ‘s consciousness of the character ‘s increasing self-knowledge about decease, the complexnesss of life and the subleties of her relationship with her male parent, seen in the apposition of ‘Old King ‘ with ‘old No-Sayer ‘ . Although Harwood acknowledges the permanent losingss of decease and the sorrow of alteration, she besides recognizes that in malice of all of this, ‘things genuinely named can ne’er disappear from Earth ‘ . She articulates that memories will excel the heartache and agony of the male parents ‘ decease as the character learns to accept the uncertainness of life.

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Harwood extends on this geographic expedition of decease as an ‘obscene ‘ experience, by researching how decease is abstract and unwanted yet inevitable in The Sharpness of Death.

The repeat of ‘obscene ‘ gives her poems coherance as a organic structure of work in her probe of decease. She continues by researching the rational facets of decease as she makes mentions to philosopher ‘s suc H as Heidegger to disregard their theories on life and decease as overly intricate and meaningless. This is reinforced through her emphatic repeat of ‘untranslatable as of all time! ‘ accompanied by a contemptuous tone which underlines her contempt and defeat over the defects in their rational philosophical contemplations over such mystique experience. Additionally, Harwood articulates the transiency of life in the concluding two lines of ‘Nasturtiums ‘ , exemplifying the continual rhythm of clip as the visible radiation is gone but still held within the ‘seeds of seeds ‘ . This is an image of continual metempsychosis of artlessness and creativeness as life moves on and it is this unagitated even tone that reflects Harwood ‘s apprehension of life ‘s alterations and eventual terminal. Her credence is brooding in her concluding deal, demonstrated through her defiant, imperative tone and direct reference ; ‘Death I will state you nowaˆ¦if I fall from that clip, so put your dentitions in me ‘ . Here, the ferocious personification of decease shown through its capitalization accentuates its prevalent power and relentlessness. By making so, she justifies that passionate experiences and carry throughing relationships are cardinal because of decease ‘s inevitable reaching. The integrity of the poemy is seen in the cyclic construction as the concluding portion closes the gap trade. As a consequence, we come to hold with Strauss in descirbing Harwood as a ‘new and typical voice ‘ as the Sharpness of Death efficaciously delves into the complexnesss of decease in taking us through fearing decease to accepting it as both cryptic and inevitable. Consequently, we acknowledge that it is through a personal joyous avowal of life that decease is defeated.

Similarly At Mornington besides explores the catholicity of human experience through observations of the passing passing of clip and the temporal nature of human being.

Transpiring is the heightened consciousness of the value of shared and meaningful human experiences and a steadfast credence of the certainty of mortality. An drawn-out metaphor amplifies this impression that life is full of chance for joy and reinvention, ‘aˆ¦we have one twenty-four hours merely one/but more than plenty to review us ‘ . Like the character ‘s realization in ‘Nightfall ‘ that memories trascend one ‘s decease, the remembrances of this verse form underscore that all of life sums to, ‘dreams, hurting, memories, love and heartache ‘ and therefore life ‘s transiency is supported through looks of love and friendly relationship. Harwood refers to the pumpkin vine as a ‘parable ‘ of herself ; the lesson intrinsic in each of her contemplations is that although decease is inevitable and lasting, there is some solace in a life of virtuousness and fulfillment. The verse form ‘s sense of integrity is reflected in its cyclical nature, get downing and stoping with the motive of H2O, symbolic of the flow of H2O and memory, in add-on to the repeating ‘rolling ‘ gesture. Her first mention in the simile ‘rolled like a doll ‘ portrays her childhood artlessness in her perceptual experience of indomitability, believing that she ‘could walk on H2O ‘ . Towards the decision, the H2O becomes a metaphor for decease ‘when I am seized at last and rolled in one crunching race ‘ proposing her recognition of deceases ‘ power and her ain mortality. The reflective, reverent tone indicates her credence of decease, captured in the simile, ‘like visible radiation on the face of Waterss that bear me off everlastingly ‘ , picturing decease as peaceful and serene. As Hoddinott remarks, this verse form articulately ‘traces the losingss occasioned by clip against the power of memory to maintain alive the light of minutes that renew the universe ‘ . Consequently, as respondents we besides come to accept the relentlessness of decease and appreciate the importance of memory to retain life ‘s profusion.

Harwoods ‘ geographic expedition on the important thoughts of decease is apparent throughout many of her plants and it is through her probe on this universally complex human experience, does she bring forth world-wide entreaty.

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