Week Two
These first two weeks have been so much better than I thought they would be. I was so impressed by the romantic period of literature and art that I thought there would be nothing that would top it, especially nothing modern. For some reason I thought that modern literature would just be really dry, political and unimaginative but now I see that the main difference so far only seems to be language. Many of the values and ideals found in romantic writings are similar to that of modern works but the society has developed, which is evident in the topics addressed such as war, and perhaps more importantly, the language is often drastically different.
I think each poem, preface, journal and painting that we’ve studied has left an impression on me. I adore the works of Vincent Van Goth and loved Franz Marc, as they seem to reinforce the idea that beauty is all around us, all we have to do is stop and slurp it all up, there’s so much more than what we merely see. I thought the preface to The Nigger of the “Narcissus” was great as it explained the artists role and the need to escape our superficial lives to appreciate our “surrounding vision of form and colour, of sunshine and shadows”(Conrad). The artist can make their observer “pause for a look, for a sigh, for a smile”, and Conrad just demonstrates so much insight in these words as he sparks an appreciation of art in everyone.
With specific reference to the poems we studied, there were many that left impressions on me for various reasons. G.M Hopkins Spring left the same impression that many of the romantic poems left. One of sheer joy and excitement for the beauty of nature and the endless possibilities it can bestow. As I read Spring and other poems by Hopkins I surprisingly drew many comparisons to the poems by Coleridge. “When weeds, in wheels, shoot long and lovely and lush” by Hopkins, compared to “Behold the dark green file of long lank weeds… Still nod and drip beneath the dripping edge”. Hopkins tends to be very rhythmical and draws on repetition, alliteration, assonance and so on to create rhythm and an atmosphere that evokes ones inner senses and imagination.
This week, Susie’s entry stood out to me as she insightfully addressed the effects and impacts of the war poems. Suz mentioned the current social and political climate, which is one full of war, terrorism and hostility. I think this is an imperative point that shouldn’t actually be separated from our readings of these poems. As depressing as it may be, it is important that our community associates the death, pain and destruction often adopted in the themes of these poems with our current issues because the past is just repeating itself over and over. The most melancholic thing about these poems is that the world has not yet become a better or more civil place. That is why I think these poems have left such an impression on us.
The contrast between The Soldier by Rupert Brooke and The Rear-Guard by Siegfried Sassoon epitomises a universal attitude that was openly embraced. The naive patriotism associated with the supposed ‘glory’ of dying for ones county proved to be a fallacy. Brooke believed that “If I should die, think only this of me: That there’s some corner of a foreign field that is forever England”. Brooke represented the young nationalistic male willing to surrender his own life to defend and liberate England. However, Sassoon outlined the issue the war “has now become a war of aggression and conquest”. Sassoon had the courage to stand up and detail the horrors of the war, which are typified in his last line, “Unloading hell behind him step by step”.
I agree with the impact of the imagery Sassoon provokes particularly in lines 15 to 18. The bluntness and explicit descriptions provide knowledge of the realities of the war, which greatly contrast with the unexperienced views of Brooke. Sassoon certainly does “expose the waste and senselessness of war and the subsequent disease and death” which left much more an impression on me.
I think each poem, preface, journal and painting that we’ve studied has left an impression on me. I adore the works of Vincent Van Goth and loved Franz Marc, as they seem to reinforce the idea that beauty is all around us, all we have to do is stop and slurp it all up, there’s so much more than what we merely see. I thought the preface to The Nigger of the “Narcissus” was great as it explained the artists role and the need to escape our superficial lives to appreciate our “surrounding vision of form and colour, of sunshine and shadows”(Conrad). The artist can make their observer “pause for a look, for a sigh, for a smile”, and Conrad just demonstrates so much insight in these words as he sparks an appreciation of art in everyone.
With specific reference to the poems we studied, there were many that left impressions on me for various reasons. G.M Hopkins Spring left the same impression that many of the romantic poems left. One of sheer joy and excitement for the beauty of nature and the endless possibilities it can bestow. As I read Spring and other poems by Hopkins I surprisingly drew many comparisons to the poems by Coleridge. “When weeds, in wheels, shoot long and lovely and lush” by Hopkins, compared to “Behold the dark green file of long lank weeds… Still nod and drip beneath the dripping edge”. Hopkins tends to be very rhythmical and draws on repetition, alliteration, assonance and so on to create rhythm and an atmosphere that evokes ones inner senses and imagination.
This week, Susie’s entry stood out to me as she insightfully addressed the effects and impacts of the war poems. Suz mentioned the current social and political climate, which is one full of war, terrorism and hostility. I think this is an imperative point that shouldn’t actually be separated from our readings of these poems. As depressing as it may be, it is important that our community associates the death, pain and destruction often adopted in the themes of these poems with our current issues because the past is just repeating itself over and over. The most melancholic thing about these poems is that the world has not yet become a better or more civil place. That is why I think these poems have left such an impression on us.
The contrast between The Soldier by Rupert Brooke and The Rear-Guard by Siegfried Sassoon epitomises a universal attitude that was openly embraced. The naive patriotism associated with the supposed ‘glory’ of dying for ones county proved to be a fallacy. Brooke believed that “If I should die, think only this of me: That there’s some corner of a foreign field that is forever England”. Brooke represented the young nationalistic male willing to surrender his own life to defend and liberate England. However, Sassoon outlined the issue the war “has now become a war of aggression and conquest”. Sassoon had the courage to stand up and detail the horrors of the war, which are typified in his last line, “Unloading hell behind him step by step”.
I agree with the impact of the imagery Sassoon provokes particularly in lines 15 to 18. The bluntness and explicit descriptions provide knowledge of the realities of the war, which greatly contrast with the unexperienced views of Brooke. Sassoon certainly does “expose the waste and senselessness of war and the subsequent disease and death” which left much more an impression on me.