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What is the poem about? How do we know? Does the poem have a formal structure, and, if so, what is it? How does the form influence the meaning of the poem? Her clothes are out of date In the Park She sits in the park. Her clothes are out of date. Two children whine and bicker, tug her skirt. A third draws aimless patterns in the dirt Someone she loved once passed by — too late to feign indifference to that casual nod.
Then, nursing the youngest child, sits staring at her feet. The Petrarchen sonnet is usually reserved for poems of love and devotion; how do these two poems fit into that definition? How do they challenge it? Why would Harwood use a false name for these two works? They list includes three male names and one female. When Harwood used her pseudonyms, she did so for good reason.
Part of her agenda was to show the ways in which poems by men, even bad ones, were often favoured by editors of literary magazines at the time. Walking on the wind Our Lord speaks to a crowd of foolish faces, No face that is not mine, while filtering through Gaps, honeycombs of memories you seem But the faint ghost of a remembered dream. Unveiled by pain, I bleed. My wound is you. I join my voice To theirs. I taste my tears.
I reap the harvest of my own desire. No heart escapes the torment of its choice. Stare the sun up. Find Kinetic heat to scorch your mist of tears. All that your vision limned by night appears Loose in dismembering air: think yourself blind.
Louder that death in headlines the unkind Elements hawk my passion: stop your ears. Deny me now. Be Doubting Thomas. Thrust Into my side the finger of your grief. Recall no ghost of love. Let no belief Summon me, fleshed and bleeding, from the shade. She supported this statement by publishing under at least three male pseudonyms — Walter Lehmann, Francis Geyer and Timothy Kline — and claimed that she received far more invitations and favourable letters to her male pseudonyms than she ever did herself.
Atherton, There was a blind girl who hated herself because she was blind. She hated everyone, except her. We Remember We remember how you loved us to Your death and still we celebrate for You are with us here. I was in the Spirit on the Lord's day, and I heard behind me a loud voice like the sound of a trumpet,…And I heard a voice from heaven, like the sound.
Ambiguous sky. However the memories of stolen time help her to overcome her fears. The poem also contains memories of a carefree time with her parents and the innocence of a child. This aspect is enhanced through the use of metaphors, imagery and the symbolism created by nature.
For she now realises that even death cannot erase her memories. The Violets In this poem of reminiscence of her childhood, Harwood concentrates on violets, both as frail melancholy flowers and as symbolic of our fragile early memories, which we cherish and love to recall: Faint scent of violets drifts in the air This positive teaching of the poem, however, is delayed by the negative anecdote which opens it.
This is in the adult present and the setting, at dusk, is cold. Once again, Harwood introduces her theme of the dissatisfaction of adult life, which is to be developed here in comparison with a celebration of childhood.
Yet in the midst of her despair in the present, she finds the violets, struggling to emerge and survive: signs of new life and beauty rising from the ashes. To try to establish a connection with nature in order to revive her spirit, she whistles a bird-like trill but, Our blackbird frets and strops his beak indifferent to Scarlattis song. The violets have set her memory in motion and she recalls a similar late afternoon in her early childhood.
Confused by an afternoon nap, she had woken up looking for breakfast. Yet, we may retain its lovely moments in our adult memory. To comfort her daughter, her mother: carried me downstairs to see spring violets in the loamy bed.
That her father arrives with a whistle onomatopoeia giving his arrival an aural immediacy connects the experience with her adult whistling of t he first stanza. On one of its levels, this poem is a celebration of her love for and indebtedness to her parents and the family life they created, the examples of behaviour which she has perpetuated.
Nonetheless, although surrounded by this care and affection, she bitterly laments the lost morning that cannot be recovered. However, the teaching of the poem — soon to be disclosed — is that domain of purity and hope is always recoverable, by the imagination and the memory. The violets in the present have served the purpose of stirring these memories from the past and, in their fragility and beauty, the flowers are emblems of those memories.
Or, it could simply be an insight into a better world. This poem is about the transformation from childhood innocence into adulthood. This poem has a major contrast between light and dark, good and evil. In the poem the sun is a symbol for security and plays the role of a saviour. This poem mocks traditional conventions of religion and family through the fact that the mother has her back turned when the boy needs her, creating a sense of betrayal.
The rivalry between the boy and his father, and how this influences his image of his mother is significant " This alludes to the Oedipus complex, a concept central to the psychoanalytic theory that explains the unconscious desire of a child for a sexual relationship with the parent of the opposite sex and the rivalry with the same sex parent ensues from that.
In this poem Harwood uses traditional forms such as rhyming couplets, as shown in the last two lines of the poem, to retain its textual integrity. However from this point onward the feeling of tension and desperation in the boy is shown through the use of enjambment. The holy and religious images of the first two stanzas contrast with the devilish images in the following stanzas. Interestingly this is the same child who was innocent enough to believe he could trap sunlight in a jar, is still capable of creating these evil images.
It provokes the question: does evil lie subconsciously in all humans? At Mornington - Nature is presented as a cleansing process, a way to find truth and wisdom - Repetition of waves and water is very important, symbolizing time and the flow of memories. They link past and present. Waves are always continuous and coming in life. Waves, tides, floods, water.
One is hollowed mocking? Perhaps a celebration to be part of life. Like the flood of memories and the experiences of life. The child looks at death. Knowledge and experience. Death is just another wave to balance out - Significance of past memories. She has captivated a pivotal moment in her life - Child believes that it can defy nature by walking on water. At Mornington This poem was inspired by a visit to a very dear friend, Thomas Riddell.
The poet went to his garden first, then to the Mornington Cemetary where his parents are buried. The poem begins with the childhood memory in which the poet recalls her first visit to the sea as a child. Believing she could walk on water, she jumped in and had to be rescued by her father. The poet recalls the peace and serenity she enjoyed with her long-time friend in a dream set in the Brisbane Botanical Gardens where they share a pitcher of cool, refreshing water.
Father And Child - The owl is a symbol of wisdom, an omen of death and a symbol of the feminine - Nature acts as a reminder of our mortality, frailty and limitations - The purpose of the inertextuality in this poem: the integration of quotes and ideas from King Lear is to give it a modernist aspect and establish the depth of emotion between father and child. Both are, first person narratives but here we sense that one, much closer to the poet herself perhaps.
The diction of this poem is even loftier and more formal than that of the previous poem. The subject matter is weighty; the impending death of a parent, and the diction is correspondingly serious. The sustained allusion to King Lear is an effective one. The notion of the aged father being an old king is a persuasive one that lends him considerable dignity, a sense of decayed greatness and faltering authority.
Images of Genesis, of the father as God, are called up. Another consistent image is that of the father as an old king, Since this is a poem about loss, grief and sadness, tears are also important. In Barn Owl we witness a young child coming to knowledge in a terrible way through death, while in Nightfall we see a middle age person come to the knowledge in a natural way, through thinking of the death of her father.
All death is change, and both poems examine the changing states of an individual at important times in her life. It satires academia, mocking of status and power deemed by authority and distinction - We are in Eisenbarts perspective - We do not have any physical features of the women, besides the hair or the hands. The speakers sense of distance from the Professor is suggested both by his formal title of academic rank and the foreign sound of his name.
He embodies an old fashioned concept of the European, aloof repository of arcane learning, with a difficult, unapproachable demeanour. Harwood is satirising his pomposity, but also smiling at the schools desperation to acquire such a distinguished guest. As well, she captures and delights in — the excitement of the occasion which is animated by the advent of this imposing masculine figure amongst the all female company When he appeared the girls whirred with an insect nervousness Even the Headmistress is dwarfed by his presence which is made even more grand by his academic gown and hood, of silk and fur, putting her less distinguished black in the shade.
Her fussing around the professor is comical as she steers him to the best seat beneath half-hearted blooms tortured to form the schools elaborate crest Harwood is mocking her own sex in these lines, the schools collective hysteria on the occasion and the hyper feminine floral decorations, even as she caricatures the Professors revulsion from it all. Here is a girl who has not been cowed by his presence and mocks his pose by duplicating it. He took Her hand and felt its voltage fling his hold From his calm age and power It is a charge both sexual and artistic.
In her interpretation of Mozart, the whole range of emotions is communicated, with accomplished talent. He has been overcome by the experience that his self possession crumbles and he looks at music cup and sees his carefully constructed image upside down.
But we should be careful to note that the girl with titian hair is exceptional. She stands for the artist. She is clearly differentiated by her hair, as her musicianship from the other girls around her, as she is from Professor Eisenbart. Different paths shape self and the ego. It becomes a metaphor for the creative self.
In the second stanza a connection between Mozart and his genius is made with the persona and her alter ego allusion. Because she associates the sound with her first love it becomes musical. A blown flame is used for a metaphor for this love. In the final stanza of the poem a metaphor of life as a journey is presented. The tone of the poem is one of thoughtfulness and the speaker is comforted by music and memories.
The spiritual aspects of the alter ego being all knowing, and the personas knowledge being incomplete. It is all about experience and individual spirituality. The temporal nature of the personas physical existence. The connection of her temporal existence and the everlasting of nature.
The metaphor of music is used to transcend time and represent timelessness and creativity. Notion that death will unite the alter ego and the persona. Music like Water. Water is life and essential. Herself as a burnt flame.
Gwen harwood collected poems torrents lightning for tangenten i et punktorrentsIn The Park - Gwen Harwood Analysis
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