Gwen Harwood Essay Example

the repetition of "the next wave, the next wave," representing an overflow of memories flooding in.

The text maintains a strong and consistent textual integrity by employing natural elements. This cohesion is achieved through the use of changing tenses, first person narration, symbolism, and repetition. These literary techniques offer insight into the content's structure and perspective, allowing viewers to better comprehend Harwood's intended portrayal of her memories.

In the first persona poem, "Mother Who Gave Me Life," Harwood employs the motif of light and dark. The poem serves as a reflective memory and celebration of her mother's life, portraying her as a life-giver and a wise figure to the child. Light is used throughout the poem in a deceptive manner, with imagery of natural elements creating an illusion of brightness and warmth. This technique serves to shift the tone of the visual text from one of deep grief to one of stability.

In the text, the author contrasts light with darkness by mentioning a quote about depression, where "a lamp on embroidered linen, my supper set out, your voice calling me in as darkness" is mentioned. This contrast is emphasized by the juxtaposition of the lamp on embroidered linen, illustrating the difference between the objects. Additionally, the contrast of darkness with light showcases the imagery of obscurity descending upon her father's house, giving the impression of transforming the ordinary into something remarkable.

The memories in the text reach back to the beginning of her time and evoke a deep sense of grief. However, there is also a contradiction of light and warmth that brings contentment to her memoir. The poem 'Triste,

Triste' takes the form of an intimate acknowledgment of the fleeting nature of human life. It is seen as an interpretation of the physical desire of a sexual act and the defiance of mortality and bodily limitations. This interpretation draws a biblical reference to the resurrection of Christ. Through the combination of this biblical reference and the physical act, the poem conveys the theme of making the ordinary astonishing.

The motif of the heart is apparent in the separation of the heart and soul. Scholar Alison Hoddinott supports this idea in her 2003 book Gwen Harwood, collected poems, stating that the poet is aware of the self's desire for permanence that goes beyond mortality and limitations. The heart's refusal to be confined is emphasized when it mourns within its prison. The text consistently personifies this concept, maintaining its structure and textual integrity.

The heart is depicted as a 'prison' for the body and soul, symbolizing the exploration of the space 'between love and sleep'. This motif is seen in both 'Mother who gave me life' and 'Triste, Triste'. In 'Triste, Triste', the mention of light is used as a tactic to approach the illumination of paradises called 'Unbearable light', but this can only be achieved through death, which separates the heart and soul. The use of metaphor in 'memorabilia' conveys memories of loss after a sexual act, suggesting that this experience is as close to paradise as one can get before death. In 'At Mornington', the poem explores family and its relationship through introspective reflections on memories and the protagonist's encounter with the sea, which brings to mind her father's death. The poem

begins softly with the anonymous family and the protagonist's first experience at the sea. Harwood employs a passive voice in the poem, as seen in the phrase 'I was taken', reflecting her initial engagement with the ocean.

The poet's close bond with her father is demonstrated in the poem through the use of an active voice. She depicts herself "leaping from [her] father's arms," symbolizing a metaphorical separation from him. The poem's long stanzas and free verse style capture the passage of time and the overpowering rush of memories, which are likened to waves. This comparison emphasizes the spontaneous nature of childhood in contrast to the more reflective appreciation that comes with middle age. The line "I would walk on water" expresses a feeling of invincibility that later contrasts with her father's inevitable death.

The speaker mourns her father's death, leading to a shift in the poem's tone towards profound sadness. Despite this, she discovers comfort by using water as a symbol to pay tribute to their bond. She acknowledges that the tranquility of the present day will illuminate the waters, suggesting that she perceives her father's reflection within them. This analogy signifies her newfound acceptance of mortality and eradicates any fear of dying both for herself and all human beings.

The text highlights the close relationship between the persona and her father, as evidenced by her constant mention of him and the comforting light that he brings to her thoughts. The phrase 'Mother who gave me life' represents the feminist idea of a unique language and bond between mother and child. Despite her mother's passing, the persona does not feel regretful

because she believes that her connection with her mother makes her part of an everlasting lineage of women throughout history.

In her writing, Harwood employs the use of linen and a 'ward door of heavy glass' as symbolic representations to convey the memories of her mother and the pain experienced during their final encounter. The phrase "I close the ward door of heavy glass between us, and saw your face crumple, fine threadbare linen" illustrates the perceived distance between them and the emotional distress her mother endured before passing away, resulting from the barrier that the daughter had erected prior to their separation.

In her poem, Harwood consistently mentions linen and the repeated image of folded fabric, which represents the collapse and crumpling of her mother. This imagery symbolizes her mother's death as she falls on her lifeless father's house. Through these poetic techniques, Harwood explores her and her mother's relationship and reveals their history within the context of the poem's strong textual integrity.

The poem 'Triste, Triste' explores the disapproval of both the physical and spiritual aspects of human existence, beginning with human erotic love. It takes inspiration from the melancholic emotions that can follow sexual pleasure. Harwood uses a compound metaphor to express the feeling of loss experienced by humans after being expelled from paradise and their enduring desire to reconnect with that unity.

The third stanza of the poem portrays the desperation of the spirit to return to its connection with paradise. This idea is emphasized by the immediate and intense direct speech of the 'heart'. A feminist perspective considers the female poet's challenge to male dominance in literary discourse.

She boldly and erotically writes about subjects traditionally deemed suitable for women, challenging gender roles by avoiding gender-specific references and not addressing the audience in terms of the lover's gender. The third stanza includes dialogue about the poet's relationship with her 'paradise'. The line "I was with you in agony" expresses the spirit's deep emotion and is reinforced by reference to Christ's plea of "Remember me" before his death. The metaphorical sense of loss after climax, along with the use of structure and dialogue, all contribute to Gwen Harwood's exploration of memories and her recollection of sexual experiences, which greatly enhance the integrity and significance of her memoir. The inevitability of death is a theme examined by Harwood in her poem 'At Mornington', as she comes to realize that death will arrive regardless of her thoughts or worries.

The personification in the line "our bones begin to wear us" implies the final phase of life, contrasting with the previous image of "flourish the fruits of the earth." The use of a plural pronoun connects the poet's story with humanity. She describes herself as a "skinful of elements," comparing herself to the journey or cycle of life. This can be seen in the vines that climb from the dark earth to light, symbolizing growth. These comparisons help convey the theme of life and death and highlight the transition between them.

Stephanie Trigg, a professor at Oxford University Press, suggests that Gwen Harwood's poetry can be described as both 'passionate and sensual'. Trigg proposes a fresh perspective on how to approach Harwood's work by viewing her poems as autobiographical narratives that shed light on intense

situations. Rather than just being verbal and artistic creations, Trigg asserts that Harwood's poems visually depict her life story. To connect her memories with themes of mortality and inevitable death, Harwood utilizes techniques like personification and plural pronouns.

Gwen Harwood's renowned poetry invites readers to interpret dramatic situations and autobiographical narratives. The poem 'Mother who gave me life' maintains textual integrity, consistently exploring the theme of life and death within its context. While some of Harwood's personal poems may be allegorized for a more impartial statement, they still retain a sense of evocativeness. In the opening line of the poem, Harwood addresses her mother in a eulogy, saying, "Mother who gave me life I think of women bearing women".

Harwood's introductory passage highlights the protagonist's mother's demise. The first person narration emphasizes the unique bond between a mother and child. The phrase "Forgive me the wisdom I would not learn from you" indicates that their connection has been broken, evoking sadness and sorrow in readers.

The audience now perceives that the mother is seen as both a life-giver and a wise figure by Harwood, who regrets not fully absorbing her mother's wisdom. Personification is utilized to symbolize the passage of time and the ongoing suffering of women. The phrase "Anguish of seasons burning backward in time" acknowledges the countless generations of women and vividly depicts the grief and despair accompanying the mother's death.

The text shows a consistent flow and reference to the death of Harwood’s mother, aided by the use of personification. 'Triste, Triste' effectively concludes with the spirit's burst of outcry towards her lover for comfort, longing to return

to its momentary paradise. The spirit's momentary fantasy world of despair is dispelled, and it reunites with ecstasy in the mortal body.

In this text, Harwood speaks about the emotional spirit that continues to disturb until it finds release in peaceful sleep on paradise or death. The spirit then enters into the unbearable light of paradise with angelic gestures, which provides a glimpse of the blissful paradise that Harwood describes. This yearning for paradise eventually dissipates as the spirit reunites permanently with heavenly bliss. Harwood uses imagery and metaphors related to sexual practices to convey the temporary experience of heaven that was one of her fondest memories.

In the verbal compositions 'At Mornington', 'Mother who gave me life', and 'Triste, Triste', Harwood incorporates memorable ideas. Through the use of techniques such as metaphors, imagery, personification, tone, and dialogue, Harwood vividly and imaginatively conveys autobiographical retentions of her life. These memoirs evoke emotional responses from critics and audiences who appreciate the beauty she brings to her poetry.