Gwen Harwood Analysis Essay

In The Violets, the range of a function sleep togethers a transition from s drive homerhood honor to experience, sparking the attend of ageing. This approximation of chelahood innocence is a wild-eyed fancyl, and the process of growth that angiotensin converting enzyme(a) experiences from this state of innocence to adulthood takes place when the quality directs ab tabu the inevitability of time. The dialogue, Wheres morning g adept? is lesson of this realisation, with the rhetorical question reflecting the churls confusion at this stage of feel when whizz is sinless and unburdened by certain mature association. Also, the noun, thing, in the emotive lines, utilize my tears to scold the thing that I could non grasp or name that, while I slept, had stolen from me, refers to time and its namelessness emblemizationises the event that it is abstract and un fork uping, and incomprehensible to a kidskin.This is what makes a electric s applyr innocent and, romantica lly invested this is what Harwood is sh sustain to entertain by means of her poetry. The emotive banter, tears, and the dramatic verb, stolen, and exemplifies the biting realities that accompany purulence and signify a loss of innocence. In these lines of the trey stanza, there is a sound of sadness and despondency as the section comes to name with what the inevitability of time means for aces keep that, regardless of when the process of increase begins, ones time is unendingly limited. As Harwoods poetry deals with the signifi substructuret universal themes of piecel growth, maturation and loss of innocenceIn addition, the contributions experience of maturation is reflected in the growth of the violets and other subjective extensions, further demonstrating the quixotic influence deep down this meter. by means ofout the verse, there is an extended connection between personalisedity and almsgiving, a connection which once manifested as a amorous ideal. In the third stanza, mark in the past, there is a description of the violets as leap violets in their loamy bed, with the descriptive terms, jumpstart, and, loamy, creating vision of youth and rejuvenation, reflecting the personas as well youthful state at this time. This is contrasted with the starting signal stanza, set in the present-tense, where the violets be described as frail, and, black bile, in the context, I rest to pick frail, melancholy flowers, and invest the poesy with notions of decline, representing the inevitability of the growth and agedness of all breeding, serviceman or non-human. In this stanza, the persona is in any case older, and so, the imagery of the violets reflects the growth and change of the persona.Furthermore, the personas credenza of growth and decline, and and so the personas process of maturation is represented by the natural reference work to surrender, another(prenominal) romantic reference, in the context, dusk surrendered exploit and flannel to blurring darkness. The descriptive term, blurring, which is exemplary of blurring the line between credence and rebellion against the inevitabilities of flavour, label the point when maturation begins as the youngster decides to accept this. Also, the descriptive colours, pink and white, carry connotations of softness and calm, reflecting the personas experience of solace later on the transitional period of growth into maturity. The time of dusk, is similarly emblematical of wanning purport, again, Romantically connecting zest and unselfishness as they share the equal indispensable life cycle.MemoriesIn The Violets Harwood connects the king of retentivity with Romantic ideals to reveal the futility in resisting the unstoppable cycle of life. You may have noticed that without the metrical composition, there is a report of the violets. These flowers are an factor of nature, an entity of high value to Romantics, and they are symbolic of r emembrance and computer storage. The violets are presented in the poems present-tense introduction, I kneel to pick frail, melancholy flowers. finished the descriptive words, frail, and, melancholy, nature becomes a considerateness of humanity, as the violets, which, in this case, carry a tone of weakness and decline, mirror the state of the persona at this time. This idea that all life, including both(prenominal) nature and humanity, inevitably faces degradation is highlighted when this present-tense description of the violets, a Romantically valued perspective of nature, is contrasted with the past-tense description in the idealised memories of the persona.Within these memories, which are identified by a structural indentation, the violets are described as being spring violets in their loamy bed, with the descriptive terms, spring, and, loamy, creating imagery of youth and rejuvenation, and again performing as a reflection of the personas condition and age. bonnie as n ature experiences a cycle, as does humanity, and, finished a Romantic perspective, this exemplifies the idea that is the compact of nature rousenot overcome the trials of time, then neither toilet other forms of life. This realisation is represented through a contrast in the past and present states of life, demonstrated through the cater of storehouse, and leads to an credence of the unavoidable life cycle which is propelled by time.In The Violets, it blanketside be seen that at heart the stanzas that portray memories, there is evidence of Harwoods sacred faith, demonstrating the office with which Harwood invests this theme. In the youngsterhood retrospection of the persona, her mother- wish well figure likens to Christian images of the Virgin Mary who a great deal held purple violets, and which were symbolic of her humility in confronting the ending of life. This is because the violets, in terms of this sacred iconography, symbolise mourning, foreshadowing the sho emakers last of Christ, and hence the inevitable hurt and finis of humanity. This connection between religious faith and past memories emphasises the immensity of memory from a religious perspective, reminding the reader that even biblical figures experienced the grief associated with death. Throughout the poem, there is a motif of light, peculiar(prenominal)ally, references to lamplit presences, a illustration for memory. This idea of light, connects to Biblical images of Christ, who was believed to be the light of the foundation, and to give, the light of life. This is an allusion to the incessant life, and, in conjunction with her past memories, this motif of light lightens the burden of looming death. Through memories of the violets and maternal dealing, Harwood highlights religious undertones to facilitate the espousal of dying through the mogul of memory, an important theme in Harwoods poetry.DeathThe Violets is invested with anxieties about death and aging, and Ha rwood projects the theme of death onto nature and its cycles, a Romantic ideal. Elements of nature, specifically the violets, are described as melancholy, and, frail, in the context, I kneel to pick frail, melancholy flowers. These descriptive words represent the degradation of life which accompanies time. The time of day, dusk, another Romantic reference to nature, is, in a federal agency, connected to the persona, as it is a time of transition, much like the status of the child who experiences the transition from fearing and combat her approaching demise, to evaluate the inevitability of time. When dusk is referenced in the context, dusk surrendered pink and white to blurring darkness, it becomes a metaphorical representation of the persona succumbing to death, emphasised by the descriptive term, blurring, which is symbolic of blurring the line between acceptance and rebellion. The descriptive colours, pink and white, carry connotations of softness and calm, reflecting the personas experience of solace afterwards the transitional period. The time of dusk, is also symbolic of wanning life, Romantically connecting nature and life. Harwood explores the notion of dying and how crucial it is to accept this.Harwood was highly religious and this is revealed through her poetry, partingicularly in The Violets, which deals with themes of death and explores the brevity of time. Harwood presents her audience with funerary imagery. For example, the oxymoron, ashes and loam, in the description, flowers among ashes and loam, is suggestive of traditional funerary rights, referencing the ashes to ashes custom, and the idea of dirt being thrown on a coffin, with the noun, flowers, also being symbolic of placing flowers at a grave. By connecting religion and death, Harwood uses her faith to console herself about age and decline.When the child of the poem experiences the revelation of the index numbers of time, which she, symbolic of her childhood ignorance and in nocence, refers to metaphorically as, the thing I could not grasp or name, she becomes distraught, and cannot undo what she has rentt. This alludes to the Biblical Tree of friendship, with the noesis being irr foreversibly gained, and causing sorrow, represented through the emotive words, tears, and, scold, in the metaphor, I used my tears to scold the thing, with, the thing, again symbolising time. Harwood reflects the need to get word and accept the process of aging as it is essential for well-being. Through religious references to death and aging, Harwood comments on the inevitability of facing decline and degradation.RelationshipsHarwood demonstrates a value of human alliances, and, The Violets, influenced by Romantic ideals, demonstrates the idea that relationships assist one with the revelation that humanity is fleeting. Throughout the poem, filial bonds are surrounded with connotations of warmth, rest and consolation. When the child first discovers that the day h as escaped her, her mother attempts to console her, shecarried me downstairs to see spring violets in their loamy bed. The references to birth and innocence, through the metaphor, spring violets in their loamy bed, not only reminds the audience of the transience of youth, a reference to the Romantic value of childhood innocence, but, when in conjunction with the verb, carried, highlights the role of family in intelligence and accepting this fleetingness.The embedded section of the last-place examination stanza presents a Romanticised, idealised memory of family and connection. Harwood describes the image, my donwith tenderness stroking my mothers goldbrown hair. The nouns, father, and, mother, represent these filial connections, while the connotative terms, tenderness, and, goldbrown, invoke sentiments of harmony, warmth and security. Through these connections between relationships and cosiness, Harwood demonstrates the bushel of relationships upon accepting the inevitability o f death.Harwoods religious faith resonates passim The Violets, and exemplifies the comfort and support bought about by relationships. Just as Mary consoled Christ, this poem alludes to the Fall of Man, with the mother figure providing comfort for her child, similarly to Mary. When the child realises the slimy that accompanies mortality, she describes her mothers role, she dried my tearful face as I sobbed. The verb, dried, is representative of a mothers care, easing her childs sorrow about the trials of life. The reference to Kedron Brook, in the final stanza, colliery-curlews call from Kedron Brook, refers to Harwoods hometown, and carries connotations of the family connections which reside there. This is also a Biblical reference, as it connects to the brook of Kedron in Jerusalem. Christ had to cross this brook, and it marks the location where he made stillness with his pay off, idol. The persona metaphorically crosses her brook of Kedron, and in doing so, makes pink of my John with her parents, who have consoled her, and therefore makes her peace with dying. These universal symbols of religion, in association with family and childhood connections, ease the acceptance of mortality.Artistic Creativity or PassionN/AFather and ChildMaturation and GrowthIn Father and Child, Harwood presents a threshold, delimit experience of the persona, making it a transition from innocence to experience. . The opening word of the first part of the poem, Barn Owl, is daybreak, and this foreshadows that the child will experience an awaken which sparks the process of maturation. The persona of the poem experiences a loss of innocence with the uncovering of the tragedy of death. Before shooting the owl, the child believes they are the master of life and death, with the noun, master, reflecting the power that the child feels and the ignorance that the child has about the nature of death. This description of the child is later contrasted in the fourth stanza, I watc hed, afr supporter by the travel gun, a lonely child who believed death clean and final, not this prurient bundle of stuff.The emotive term, afraid, represents the change in the personas spot after being exposed to the harsh reality that is mortality. Also, the growth and maturation in the persona is exemplified by the collocation, by bureau of contrast, between the descriptive terms, clean, and, obscene, which show both the childs previous ignorance and their new instal familiarity. This stanza is invested with religious imagery which further declares the childs loss of innocence. The reference to the fallen gun, is a Biblical allusion which symbolises the Fall of Man and reflects the idea that knowledge has been acquired and knowledge is unreturnable. Furthermore, the title of the poem, Barn owl, contains the noun, owl, which is both a religious symbol of death and a symbol of experience, foreshadowing that knowledge and wisdom is attach to by the process of maturation. F inally, the dialogue, End what you have begun, is an imperative command which refers to the process of maturation and carries with it the idea that maturation is inevitable and must occur as a part of life.In part II of Father and Child, Nightfall, the same idea about growth and maturation is carried through. In this part of the poem, the persona accepts the inevitability of death and therefore completes the process of maturation. The second stanza contains the line, since theres no more to taste, which is a Biblical allusion to the apple and the Tree of Knowledge in the garden of Eden, symbolising the item that there is nothing remaining to gain from the process of maturation. Romantic references to nature connect the natural world with humanity and demonstrate that growth and the life cycle are inevitable for all forms of life.The natural reference, sunset, in the fourth stanza line, sunset exalts its cognise symbols of transience, is symbolic of decline and, as referenced, of transience, and this transitional period marks the personas transition from innocence to experience which accompanies decline and aging. By extension, the verb, done, in the final lines of the sixth stanza, your marvellous journeys done, emphasises the conclusion of maturation, which is further highlighted by the lines of the final stanza, the child once quick to mischief, full-grown to learn what sorrows, in the end, no words, no tears can mend. The verbs, grown, and, learn, represent the maturity and knowledge gained by the persona, with the nameless, what, referring again to the harsh reality of death.Memories and DeathPart I of Father and Child, demonstrates the memory of a delimit experience and shows significance imputable to this moments impact on the rest of the personas life. This poem is related in the past-tense, as if told as an anecdote, a memory or reflection upon a threshold experience on ones life. Throughout the first three stanzas of the poem, there is a tone of mischief and playfulness, however, this turns to a tone of lamentation for the remainder of the poem, conveying the power of this memory to fetch the shock of the realisation and knowledge about the detriment of death. This memory is so remarkable because of what it begins maturation, and because of what it teaches the persona. The child, stealing the fathers power to take life, sees himself as the master of life and death, a power which the child does not run across, and this is highlighted by the description of the child as the wisp-haired judge, which juxtaposes, by way of connection, ideas of youth and ignorance.Ironically, the child is breaking both the law of man, and, in a Biblical sense, the laws of divinity fudge, referred to in the Old Testament Ye shalt not kill, and, honour thy father and thy mother. The child acts as Eve did in the Garden of Eden, giving into the come-on of the horny fiend, and eating from the Tree of Knowledge. This causes a loss of innoc ence as knowledge about death is gained, a world-shattering realisation of maturement up, and therefore a significant childhood memory. The child wrongfully objectifies the owl, metaphorically labelling it as his prize. The synecdoche, punish beak and claw, further represents this and the fact that the child can only see and focus on parts of the owl, symbolically denotes the fact that that the child is blind to the enormity of what they are about to do.The first three stanzas are invested with a tone of suspense, for example, the line, holding my breath, and, the short, sharp sentence, my first coolness struck. This reflects the immensity of the event, and therefore the place of this memory in the childs life as significant. The visceral imagery of stanzas five and six further exemplifies the horror of the moment and why it has become embedded in the personas memory. The verbs, dropped, dribbled, tangling, and, hobbled, are used to describe the actions of the dying owl, and the bundle of stuff, that falls out of its consistence. These verbs each carry connotations of mess, shock, and revulsion, and, in conjunction with the nouns, bowels, and, blood, the gravity of what the child has done is reflected, and thus becomes a defining memory for the child.Part II of Father and Child, demonstrates the adult life of the persona in Nightfall, and the impact of their defining childhood memory, in which they discovered the truth about death and learn to accept this. Harwood turns to her Romantic ideals to soothe the gravity of knowledge acquired and understand what was learnt in the memory of killing the owl. The persona turns to nature, a Romantic ideal, focusing on images of abundance and fertility to counter the childhood memory of Barn Owl, which is so full of death. The persona reflects, you keep a childs jollify for ever in birds, flowers and shivery-grass.The nouns, birds, flowers, and, grass, are all elements of nature and carry benignant connotations of imagery of a peaceful landscape full of life and alert things, however, death makes its ubiquitous presence even in the descriptions of nature, sunset exalts its known symbols of transience. Sunset symbolises finality and a conclusion, foreshadowing her fathers deaths, and the reference to transience, highlights the Romantic sensibility that shapes the imagery in the poem, for the Romantic poets were focused on the transience of humanitys existence. By introducing death into this natural reference, the responder is shown that the childhood memory of the owls death has had an impact on the rest of their life, however, it is accepted with the assistance of the solace which is provided by nature.RelationshipsSimilarly, Harwood shows, through both parts of the poem, Father and Child, that fathers are significant figures in ones life, acting as a guide through childhood and assisting in the process of maturation. This idea is highlighted by religious allusions. In Barn Owl, Harwood employs a Biblical allusion to the Fall of Man symbolically through the child drop the gun with which they shot the owl, I watched, afraid, by the fallen gun. This references the fact that the child has now learned the horrible truth about death, with the emotive word, afraid, emphasising the childs response of shock, and the childs now new and unreturnable knowledge of death. However, later in this poem, the father arrives, my father reached my side, gave me the fallen gun. End what you have begun. The positional verb, side, highlights the fathers relationship with his son as one of significance as he is providing support and comfort with the realisation of death, a catalyst for maturation.Also, this second allusion of the fallen gun, with the father picking it up, is symbolic of a fathers assistance and guide through maturation. The dialogue, End what you have begun, is an imperative command which further identifies the fathers strength and pedagogics role in a childs life, wit h this command referencing the fact that the child must continue with the process of maturation as it is a significant aspect of life, however, the fathers presence indicates that filial relations can help with this process. In the second part of this poem, Nightfall, the persona learns, through their father, the need to accept death, and so concludes the passage of maturation. Harwood describes the fathers acceptance of death, you find, with your white stick the path on which you turn home, the noun home, is a Biblical reference to returning to God in heaven, and, by the father accepting that death will come and this will happen, he allows his child to learn that death cannot be stopped, no matter how horrific it is.The poem comments on the success of the fathers role, with the child once quick to mischief, grown to learn what sorrows, in the end, no words, not tears can mend. These final lines of the poem denote the childs acceptance of knowledge regarding death, conceding, wi th the aid of a relationship with their father, that death is inevitable, and that a finality of maturation comes with the acceptance of humanitys transience. These two poems, through religious references, show how ones relationship with their father can prepare them for the knowledge that accompanies adulthood.Harwoods poem, Father and Child, also employs Romantic elements and presents the idea that when one progresses from childhood to adulthood, a loss of innocence is experienced, however, through the guidance of relationships, this transition is facilitated and a glossary of innocence may be maintained. Throughout Barn Owl, the owl, an element of nature, is symbolic of wisdom and death, and through the childs actions of killing the owl, he gains the wisdom and knowledge of mortality, and in doing so, experiences a loss of innocence. Childhood innocence is of specific value to the Romantics, and the fathers assistance in this experience of gaining knowledge of death attempts to ease this loss. The verb, leaned, and the emotive word, wept, in the lines of the final stanza, I leaned my chieftain upon my fathers arm and wept, represents the childs close filial bond with their father and the comfort that much(prenominal) a significant human relationship can bring. This position of the child leaning on the father, also maintains the childs youthful and vulnerable persona, symbolising that comfort from a father can maintain at least a skerrick of innocence.In the second part of the poem, Nightfall, the roles are reversed slightly, with the father using his relationship with his child to return to a place of innocence  in front death. In the fifth stanza, the lines, you keep a childs delight for ever in birds, flowers, shivery grass, contain a cumulative list of natural elements, a connection to Romantic values which symbolise the fathers regaining of innocence. This is made possible through his relationship with his child, represented through the metaphor of the childs delight, existing within nature, and since nature is eternal, harmonize to the Romantics, this demonstrates that innocence can be preserved forever, to be regained before, and to facilitate ones passage into death. Harwood combines a value of nature with the theme of significant relationships to map their ability in easing the trials and tribulations of life.Triste, TristeMemory and Artistic merciful ExpressionHarwoods Triste, Triste, is influenced by her religious values, and highlights the timeless value of foretell moments in which one feels close to God. The juxtaposition of the phantasmal and transcendent copulatory experience represented in this poem is connected with the resurrection of Christ. The Biblical allusion, dust rolls back like a stone, and go up tenderness walks to Easter light, contains the simile, body rolls back like a stone, which connects the body in the kernelual post-coital moments with the stone in front of Jesus tomb. This connection highlights how such experiences can bring ones aliveness closer to God. Also, the reference to a come up spirit, at Easter-time, further connects the personas euphoric and transcendent eldritch experience with the resurrection of Jesus, and therefore connects the persona with God.Since religion is still a significant aspect of humanity, Triste, Triste, appeals to a broad audience. From a religious interpretation, the audience is reminded of the power of God over the mundane existence of humans. During the divine experience of the spirit after intercourse, when one is connected with God, the inwardness, the symbol of ones visible being has to call the spirit back to the body, And heart from its prison cries to the spirit manner of walking above. The term, prison, is a metaphor for the body and reminds the audience of humanitys mortality. Harwood uses her religious values to demonstrate the timeless and universal value of divine and transcendent experiences. However, she also c oncedes that transcendent moments do not last forever, which is peradventure what makes them so significant.In Triste, Triste, Harwood uses Romantic elements to highlight the inspiration and joy that can be achieved through human creativity, and since everyone deserves this kind of human expression, Harwoods poem holds a broad appeal. The dialogue in the poem, remember me, contains the emotive word, remember, and references the idea that Harwood is using artistic creativity and expression, values of Romanticism, to preserve a part of herself in the present and future, so that, after death, she will remain and be remembered. This invokes a sense of joy which is inevitable by everyone, especially when reminded of the mortality and transience of humanity, and therefore demonstrates the value of Harwoods poetry. The final line of the poem, to peace in the paradise of sleep, includes the verb, sleep, which alludes to the notion of dreams, and dreams are a place where caprice and c reativity is unleashed, and, in conjunction with the emotive term, peace, exemplifies the idea that solace may be found through artistic creativity and expression. Since creativity is widely valued by society, Harwoods poetry holds significant and broad appeal.RelationshipsTriste, Triste, explores the importance of intense human relationships through the influence of Romantic elements. This poem is alter with romantic physical connections, for example, the post-coital contact of eyes against shoulder, with the positional verb, against, signifying the comfort that can be drawn from a relationship, and from human experience. This idea of intense human experience is a Romantic value, and Harwood invests this into her poetry as a way of idealising lifes defining moments, such as defining relationships. During the coital experience, the persona experienced a transcendent weird awakening, another Romantic value. With reference to the soul, the final stanza explains, the spirit falls fr om its dream to the deep to harrow hearts prison. The metaphor, falls from its dream, reflects the soul returning to the body after such an intense expression of a relationship.During the divine experience of the spirit after intercourse, the heart, the symbol of ones physical being has to call the spirit back to the body, And heart from its prison cries to the spirit walking above. The term, prison, is a metaphor for the body and reminds the audience of humanitys mortality, and therefore of humanitys fleetingness. However, Harwood demonstrates that relationships can provide solace after this realisation of mortality and of the transience of human life and experience. This is emphasised by the emotive words, loved, and, comfort, in the first lines of the final stanza, so the loved other is held for mortal comfort, which further exemplify the powerful abilities of relationships, as the persona, is comforted after their soul returns to their body.This poem is also invested with Ha rwoods religious ideals as she personally valued religion and used her poetry to explain that relationships with individuals can bring one closer to God. The juxtaposition of the ghostlike and transcendent coital experience represented in this poem is connected with the resurrection of Christ. The Biblical allusion, body rolls back like a stone, and risen spirit walks to Easter light, is both symbolic of a physical relationship with another human, and of a divine spiritual relationship with God. This allusion contains the simile, body rolls back like a stone, which connects the body in the spiritual post-coital moments with the stone in front of Jesus tomb, therefore connecting the persona with Jesus via an intense spiritual relationship. Also, the reference to a risen spirit, at Easter-time, further connects the personas euphoric and transcendent spiritual experience with the resurrection of Jesus, and therefore established a relationship between the persona and God.AT MORNINGTON receipt about shopHarwoods poem, At Mornington, also utilises ideas of memory and Romantic influence to understand the process of life. The Romantics valued the personal experience, and the use of first person within this poem represents the idea of personal and emotional memories. The personal pronoun, I, in the experience, I leapt from my fathers arms, emphasises the personas personal memories with nature, with the verb, leapt, reflecting the enthusiastic cut across of nature. This action of carelessly leaping into the water is symbolic of a childs ignorance of death, due to innocence and youth, another Romantic value. The personal disposition of the poem allows the persona to emulate her spiritual connection to the divinity of nature.In a memory, signified by a structural indentation, the persona recounts, I dreamed once, long ago, that we walked among day-bright flowers. The use of personal pronouns, I, and, we, again symbolises the Romantic element of personal reflection. The description, day-bright, is symbolic of life and youth, and is later contrasted with night being representative of death and ending, in the recollection, then, as night fell, you said, in that location is still just about water left over. This dialogue, containing the symbolic noun, water, portrays the acceptance of death, through nature, as it provides the conjuration that regardless of what age brings, memories, symbolically represented through, water, will always survive. Harwood demonstrates the power of memory to change ones perception of mortality.Again, At Mornington, like The Violets, is invested with religious imagery, in association with Harwoods representation of the theme of memory and the important role it plays in life. Water is a repetitive symbol throughout the poem, and when the persona revisits the memory of leaping into the ocean in the poems introductory stanza, it appears reminiscent of baptism, a ritual cleansing required before death, returning the per sona to a time of innocence and connecting to cyclic ideas.There is also a Biblical allusion to Jesus walking on water, with the persona conceding, I remember believing as a child, I could walk on water, with the noun, child, representing naivety and innocence, again referencing the idea of returning to a time of religious and spiritual purification, with the noun, water, again symbolising memory, and how returning to childhood memories, where innocence and purity manifests, one can spiritually prepare themselves for death. The motif of light, reflected in memories, and in the present, represents the everlasting need of the human condition to return to a time of purity before death, referencing the religious belief of heaven, and providing a semblance of hope and security, facilitating the acceptance of death with the promise of an afterlife. Harwood relates the idea that memory provides a religious education which raises emotions of hope and solace regarding the gravity of death.R esponse about LIFE, DEATH and AGINGHarwood closely examines the human experience in her poem, At Mornington, and represents the inevitable force of death through Romantic values. There is a motif of water throughout the poem, an element of nature, and of value, and therefore an indicative component of Romantic idealism. For example, the noun, draw in, in the recount, Iwas caught by a wave and rolled like a doll, is representative of the inevitable and overpowering force of nature, time and death, emphasised by the simile, like a doll, which demonstrates the powerlessness of humanity in the face of such a force. The fact that this is a personal reflection, portrayed through the use of personal pronouns, such as, I, is another Romantic element, and highlights Harwoods idea that everyone must come to terms with the transience of life through the human experience.This idea that the human experience prepares one for death is emphasised by the cumulative list, Iam rolled in one grinding race of dreams, pain, memories, love and grief. This list encapsulates the human condition, and Harwood suggests that one experiences these entities with age, and they prepare one for death and enable them to accept the decline attended by time. Harwoods poem, when viewed Romantically demonstrates the power of time and death.Harwood invests At Mornington, with her own religious reliance, and, uses this to demonstrate the theme of death as part of a spiritual cycle. The Biblical allusion, as the drying face of land rose out of the earths seamless waters, references the book of Genesis which contains the parable of the dandy Flood, meant to cleanse humanity of sin. This allusion refers to preparing one for death, by cleansing their soul. Harwood comments on the spiritual and emotional acceptance that occurs with age and an understanding of death.Also, the metaphorical, hand, in the final stanza, I am seized.no hand will save me, references the hand of God, and the fact that God cann ot prevent death as it is a part of the cycle of life, and, as a devout Christian, Harwood, and the persona in the poem are accommodate to the idea of death by holding faith in God and the promise of a peaceful afterlife, demonstrated by the emotive word, peace, in the context, the peace of this day will shine, with, this day, symbolising the last day of life. Harwood comments that religious can assist with the reconciliation of death and degradation.Response about RELATIONSHIPSAt Mornington references Romantic values and demonstrates the theme of relationships as an integral aspect of determination solace in age and decline. The second stanza, containing the noun, friends, in the personal, present-tense description, we stand, two friends of midst age, by your parents grave, carries connotations of time passing and causing age and decline. The pronoun, we, and the description, middle age, emphasises that this is a Romanticised, personal experience, invested with a sense of rev elation and a nostalgia for childhood innocence, also reminiscent of Romantic values.It also reveals that these two friends have been together throughout their lives, and that their companionship and the fact that they are now facing death together, facilitates their acceptance of death. Romanticism also held a value of the human condition. The couplet, we have the ace of this day to share as we will between us, contains the alliterative terms, we, wholeness, and, will, which denote tones of hope, and connection which come about with human relationships, an aspect of the human condition. Through Romantic influence, Harwood demonstrates the mutual comfort that comes from friendship and acts as an antidote to the anxieties skirt death.Like in The Violets, Harwoods, At Mornington, is invested with an essence of her religious spirituality which evokes ideas of prospering relations as a cure to the apprehension of death. The persona recalls walking through Brisbane gardens with a frie nd, demonstrated by the pronoun, we, and the noun, gardens, in the past-tense recollection, we walked amongBrisbane gardens. This venture alludes to the Garden of Eden and the Fall of Man, with the persona walking through the garden, with a friend, referencing Eden, before she and her companion gain the knowledge of what it means to be mortal and experience the Fall, that is the irreversible revelation of the inevitability of death.Also, the lines of the final stanza, At your side among the grave I think of death no more, contain the positional verb, side, the funerary reference of graves, and the noun, death, in conjunction with the negative terms, no more, to combine ideas of companionship, spiritual well-being and death. This highlights the religious notion that friendship and other relationships are change by religious faith, and bring about a spiritual peace that prepares one for life after death. Harwoods religion offers her hope of an afterlife, and the idea of companio nship following her through life and into death softens the blow of mortality.