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Subject and style of Judith Wright's poems
Critical appreciation of Judith Wright poems
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THE COMPANY OF LOVERS: JUDITH WRIGHT
Judith Wright’s 1946 poem “The Company of Lovers” makes a juxtaposition of two essential forces of major impact upon human existence, the effects of love and those of death. Within the poem it can be noted that the two stanzas reflect each of the certain themes. The first, a universal description of love and the ambitions two lovers might have, whilst the second a reflection of how quick all may soon be lost through the loneliness of death.
Wright is renown for her use language, and many of her poems contain paradoxes in which the reader is confronted with a phrase completely unrealisable, but effective in portraying the nature of the poem. “The Company Of Lovers” itself opens with the use of a paradox “…We meet and part now…” instils an image of simultaneous unity and depart, evoking in a sense of temporary cohesion that may soon be lost. This may represent a changing nature of ‘lovers’ and perhaps such a quick meeting and farewell represents the promiscuous nature of some who class themselves as ‘lovers.’
Nonetheless, a different approach is taken as the first stanza introduces ‘the lost company’ which could quite well represent lost ideals or values that once offered what was a company of lovers, which has now become short-term relationships. This emphasis goes on to describe, with passion, the joining of ‘hands together in the night’ of those “who sought many things, throw all away for this one thing, one only” – love.
Such descriptions change, however, as the last lines change in tone, bringing forth a harsh reality, even to those submerged in the unified joys of love with a strategically placed ‘narrow grave’ to emphasise the loneliness of death.
Ambiguity can also be noted through the use of many words within the poem, even from the first lines of the title itself. The word ‘company’ has several connotations of which could signify the reader being within the company of lovers, or perhaps lover’s in the company of one another.
The interpretations of what comes after death may vary greatly across literature, but one component remains constant: there will always be movement. In her collection Native Guard, Natasha Trethewey discusses the significance, permanence and meaning of death often. The topic is intimate and personal in her life, and inescapable in the general human experience. Part I of Native Guard hosts many of the most personal poems in the collection, and those very closely related to the death of Trethewey’s mother, and the exit of her mother’s presence from her life. In “Graveyard Blues”, Trethewey examines the definition of “home” as a place of lament, in contrast to the comforting meaning in the epitaph beginning Part I, and the significance
Time is equated with constant decay throughout the entire poem, which is primarily shown in the speaker’s comparison of the concept of eternity to a desert. Love, and other concepts felt in life, are subject to this negative force of deconstruction over time, and are vanquished in death; this idea can be seen in the witty commentary at the end of the second stanza, “the grave’s a fine and private place, but none I think do there embrace”
Throughout the lives of most people on the planet, there comes a time when there may be a loss of love, hope or remembrance in our lives. These troublesome times in our lives can be the hardest things we go through. Without love or hope, what is there to live for? Some see that the loss of hope and love means the end, these people being pessimistic, while others can see that even though they feel at a loss of love and hope that one day again they will feel love and have that sense of hope, these people are optimistic. These feelings that all of us had, have been around since the dawn of many. Throughout the centuries, the expression of these feelings has made their ways into literature, novels, plays, poems, and recently movies. The qualities of love, hope, and remembrance can be seen in Emily Bronte’s and Thomas Hardy’s poems of “Remembrance” “Darkling Thrush” and “Ah, Are you Digging on my Grave?”
In the first instance, death is portrayed as a “bear” (2) that reaches out seasonally. This is then followed by a man whom “ comes and takes all the bright coins from his purse / / to buy me…” This ever-changing persona that encapsulates death brings forth a curiosity about death and its presence in the living world. In the second stanza, “measles-pox” (6) is an illness used to portray death’s existence in a distinctive embodiment. This uncertainty creates the illusion of warmth and welcomenesss and is further demonstrated through the reproduction of death as an eminent figure. Further inspection allows the reader to understand death as a swift encounter. The quick imagery brought forth by words such as “snaps” and “shut” provoke a sense of startle in which the audience may dispel any idea of expectedness in death’s coming. This essential idea of apparent arrival transitions to a slower, foreseeable fate where one can imagine the enduring pain experienced “an iceberg between shoulder blades” (line 8). This shift characterizes the constant adaptation in appearance that death acquires. Moreover, the idea of warmth radiating from death’s presence reemerges with the introduction to a “cottage of darkness” (line 10), which to some may bring about a feeling of pleasantry and comfort. It is important to note that line 10 was the sole occurrence of a rhetorical question that the speaker
Imagine that the person you love most in the world dies. How would you cope with the loss? Death and grieving is an agonizing and inevitable part of life. No one is immune from death’s insidious and frigid grip. Individuals vary in their emotional reactions to loss. There is no right or wrong way to grieve (Huffman, 2012, p.183), it is a melancholy ordeal, but a necessary one (Johnson, 2007). In the following: the five stages of grief, the symptoms of grief, coping with grief, and unusual customs of mourning with particular emphasis on mourning at its most extravagant, during the Victorian era, will all be discussed in this essay (Smith, 2014).
The two poems, “Do Not Go Gentle into That Good Night”, by Dylan Thomas and, “Because I Could Not Wait for Death”, by Emily Dickinson, we find two distinct treatments on the same theme, death. Although they both represent death, they also represent it as something other than death. Death brings about a variety of different feelings, because no two people feel the same way or believe the same thing. The fact that our faith is unknown makes the notion of death a common topic, as writers can make sense of their own feelings and emotions and in the process hope to make readers make sense of theirs too. Both Dickinson and Thomas are two well known and revered poets for their eloquent capture of these emotions. The poems both explore death and the
At a glance, the poem seems simplistic – a detailed observance of nature followed by an invitation to wash a “dear friend’s” hair. Yet this short poem highlights Bishop’s best poetic qualities, including her deliberate choice in diction, and her emotional restraint. Bishop progresses along with the reader to unfold the feelings of both sadness and joy involved in loving a person that will eventually age and pass away. The poem focuses on the intersection of love and death, an intersection that goes beyond gender and sexuality to make a far-reaching statement about the nature of being
Death is a reality that can be interpreted in many ways. Some people fear the possibility of no longer living and others welcome the opportunity for a new life in the afterlife. Many poets have been inspired by death, be it by the approaching death of loved ones or a battle for immortality. Just as each poet is inspired differently, each poem casts a different hue of light on the topic of death giving readers a unique way to look at death.
Overall, dwell on this process of changing throughout the poem, it can be understood that the poet is demonstrating a particular attitude towards life. Everyone declines and dies eventually, but it would be better to embrace an optimistic, opened mind than a pessimistic, giving-up attitude; face the approach of death unflinchingly, calmly.
Edgar Allan Poe’s 1849 poem, “Annabel Lee”, explores the common themes of romance and death found in many of Poe’s works. The poem tells the story of a beautiful young maiden named Annabel Lee who resides by the sea. The maiden and the narrator of the poem are deeply in love, however the maiden falls ill and dies, leaving the narrator without his beloved Annabel Lee. Contrary to what many might expect from a poem by Poe and yet still depressing, the poem ends with the narrator accepting Annabel’s death and remains confident that they will forever be together despite her parting.
The poem “The Lover Not Taken” share an identical structure with “The Road Not Taken,” with an extra stanza containing two lines where Farley throws in the punch line to make a point. Both the poems develop a unique pattern of rhyming, where the first, third and fourth line rhyme; also, second and the fifth line end with rhyming words. Despite the use of similar words such as “stood” (2) and “sigh” (16), Farley manages to create an unrestrained and dynamic lead character, while Frost portrays a slow pace. Farley, although portraying similar theme to that of Frost’s poem, intentionally contradicts the ideas in “The Road Not Taken,” only to unexpectedly choose the path “less travelled by” – the path of lust over love (Frost 19). She is willing to sacrifice an understanding lover for something that maybe a one night stand or worse. It is difficult t...
Death is depicted as an individual’s affair, in which, neither one’s closest friends or closest blood relatives can give a hand in. Upon receiving the tragic news Everyman first approaches his friend Fellowship. At first he is hesitant to reveal his sorrow to Fellowship for he considers it too tragic a plight. After cajoling and assurances by Fellowship to stand by him in whatever situation, Everyman finally pours out his sorrow to Fellowship. Upon realizing that Everyman has been summoned by death, fellowship turns his back on Everyman ...
Relationships between two people can have a strong bond and through poetry can have an everlasting life. The relationship can be between a mother and a child, a man and a woman, or of one person reaching out to their love. No matter what kind of relationship there is, the bond between the two people is shown through literary devices to enhance the romantic impression upon the reader. Through Dudley Randall’s “Ballad of Birmingham,” Ben Jonson’s “To Celia,” and William Shakespeare’s “Shall I Compare Thee to a Summer’s Day?” relationships are viewed as a powerful bond, an everlasting love, and even a romantic hymn.
experiences are reflected in their writing. Both of these writers present the reader with the concept of human mortality in such a way that not only is the fear of death prevalent in their work, but also the love of life.
Death is inevitable. Chidiock Tichborne and John Keats in their poems “Tichborne’s Elegy” and “When I have fears that I may cease to be” convey death in opposite ways. Tichborne through his poetic style, shows an acceptance of his death, as a result of reflecting on a life fulfilled, but unrecognized. While Keats, expresses a fear of death, where he contemplates that he will not be able to experience love or fame. Both these poets have lead lives that varied from each other in ways that are most revealed through their use of form, metaphors, repetition, punctuation and rhyme schemes. Moreover, both poets express and explore deep rooted human emotions such as, nostalgia, pain, love and a feeling of insatiability. Although “Tichborne’s Elegy” and “When I have fears that I may cease to be” share a common theme because each speaker contemplates the inevitability of his death, their perceptions differ mainly as a result of their circumstances.