Poets aim to write works that are not only lyrical and interesting to read, but also provoke thought and emotional response from the reader. If a poet can make a reader connect emotionally with the poem, it have can have a profound effect. In this essay, I will be comparing and contrasting the works of Philip Larkin and Thomas Hardy, focusing on how they evoke emotional responses from the reader.
Poems are a pathway for poets to express their emotions about a subject, which invoke emotional responses from the reader, even though the poem may be devoid of emotions. In Ted Hughes 'Hawk Roosting', the main predator of the ecosystem, the hawk, is glorified and it depicted as a powerful, godly character, leaving a vivid impression in the reader's mind through its chillingly mechanical and emotionless monologue. On the other hand, in Sylvia Plath's 'Daddy', the perspective of a young girl who fears devilish father, builds up a torrent of emotion as the girl transforms to a victorious avenger who no longer fears her father and conveys a sense of spiteful revenge throughout the poem. Both poems, albeit different in subject matter, are successful in developing strong emotions from the reader.
Poems are special writings as they are able to invoke a wide range of emotions in different ways to different people, but only using small number of words compare to other styles of writing. 'At Grass', by Philip Larkin explores feelings associated with identity and human vulnerability in response to the problem of aging and the passing of time. Thomas Hardy in 'The Darkling Thrush', on the other hand, reflects on the past century, his relationship with faith and the general condition of humanity. Larkin evokes emotion in the reader through a reflective tone that invites us to question the nature of time and our sense of identity, whereas Hardy evokes emotions in the reader through emphasis on communication of his perspective through a particularly lyrical voice. Both of the poets benefit from the use of sound, metaphor and manipulation of meter and rhyme to encourage in the end a somewhat sorrowful, melancholic reaction from their readers.
In both Ian McEwan's 'Enduring Love' and Joseph Conrad's 'Heart of Darkness', protagonists undergo change. In 'Enduring Love' the main character, Joe Rose, prides himself in being rational; he witnesses a traumatic balloon accident at the beginning of the novel, and is then stalked by a young man Jed Parry, whom he meets at the accident. In 'Heart of Darkness', both the narrator Marlow and the character Kurtz, the ivory trader, undergo a mental and physical transformation. Joe's change in 'Enduring Love' is used to explore the incomprehensibility of death and the failure of rationalism as an ideology, whereas Conrad uses his characters' degeneration to comment on the corruptibility and apparent truth of human nature, the darkness behind Empire, and similar to 'Enduring Love', the failure of rationalism. Conrad utilises the linear narrative of his novel, the ghoul-like imagery in the scene where Kurtz attempts to flee from Marlow, and uses physical descriptions of the character to imply that mental state.
|Playwrights have the ability to manipulate each character they create and all their attributes in order to enhance the impact of their production. The concept of using contrasting characters and characteristics to highlight elements of a play can be very successful if used correctly. Two examples concern 'Master Harold and the Boys', written by Athol Fugard and 'A Streetcar Named Desire' by Tennessee Williams. Both of these works contain two very central, and polar-opposite characters that not only operate as foils or one another but complement the process of conveying the meaning of the play. |
|The power of the theatre conveys a sensory experience for audiences, portraying in real-time the trials and tribulations of a play's characters. Recurring elements, especially of images, ideas and symbols conveyed by characters and types of stagecraft, alert the audience to their importance. The use of these recurring elements is crucial is crucial in communicating the human element of the play, as the patterns we, the audience, witness on stage are mirrored in wider contexts in our own lives. These patterns encourage the audience to connect with the ideas conveyed by the playwright. Notably, it is the patterns we witness in Arthur Miller's 'Death of a Salesman' and Tennessee Williams' 'A Streetcar Named Desire', created by their use of recurring use of visual, auditory and linguistic features, which drive the plots and tragic narrative arcs of their respective protagonists, Willy Loman and Blanche Dubois. In this way, their utilization of recurring elements familiarises audiences with the world of their characters and elicits sympathy as the patterns and behaviours underscore the playwrights' interest in the fate of those who cannot adapt. |