Polarities by kenneth slessor analysis

These notes were contributed by members of the GradeSaver community. He people who live on William Street have to suffer a lot because they do not have access to basic elements which the rest of the population does and as a result sickens is ever-present in their lives. This translated into a high mortality rate among the people living on the street which is presented as being a direct result of the poverty in which the people were living.

Unfortunately, these events are described as being natural, an integral part of the everyday life of those living on the street.

Narsi seth ka natak narender balhara

This normalization only makes things worse in the long run but as the narrator points out, there is little anyone can do to make things better. Time is presented as being external, something which no one can control or change. In this sense, time is compared with the Sun, which, no matter how much a person will try, will never change its path and stop its journey.

Time is also linked with despair and suffering, mainly because of its association with imminent death.

Polarities in the Evolution of Mankind By Rudolf Steiner

Still, the narrator points out the two are not necessarily linked and that death is not produced by time but rather humans started to keep track of time when death first appeared. One of the reasons why some people may choose to do this is because they are trying to cope with a tragic event in their life.

The author knew about drug use as a coping mechanism firsthand since many soldiers during the First and the Second World War self-medicated to deal with the stress of knowing they could die at any moment or dealing with the trauma of seeing their comrades die a gruesome death. These practices were hard to let go and many continued to use drugs after they return home, causing other problems to themselves and their families.

Kenneth Slessor: Selected Poems study guide contains a biography of Kenneth Slessor, literature essays, quiz questions, major themes, characters, and a full summary and analysis. Kenneth Slessor: Selected Poems essays are academic essays for citation.

These papers were written primarily by students and provide critical analysis of Kenneth Slessor: Selected Poems. Remember me. Forgot your password? Study Guide for Kenneth Slessor: Selected Poems Kenneth Slessor: Selected Poems study guide contains a biography of Kenneth Slessor, literature essays, quiz questions, major themes, characters, and a full summary and analysis.To browse Academia.

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Analysis Of Beach Burial By Kenneth Slessor

Download Free PDF. Improvisation in Multivocal Poetic Discourse: Basque lauburu and bertsolaritza as catalysts of global significance www. Anthony Judge. Download PDF. A short summary of this paper. Improvisation in Multivocal Poetic Discourse: Basque lauburu and bertsolaritza as catalysts of global significance. IntroductionThere are extensive references to improvisation, especially with respect to music and poetry. The focus is primarily on a single performer. Improvisation involving multiple instruments has however long been evident in jazz groups.

Use of multiple voices in multipart singing is a notable feature of some folk cultures, although typically these feature traditional songs.

Kenneth Slessor: Selected Poems Themes

The concern here is with the possibility of multivocal improvisation, whether in poetry, music or song --especially given the challenge of its creative self-organization in the absence or redefinition of "composer" or "conductor", or of any catalytic theme or mode as might be provided from an audience.

In practice this frames the challenge of recognition of optional patterns, amongst which improvisers may choose, or towards which they may converge --and the communication of such patterns, rather than their imposition. The particular interest of such possibilities is the manner in which they may prefigure new approaches to current challenges of governance in society.

This relates to some references to the social and philosophical implications of improvisation in an open society -and the significance for the individual, as succinctly implied by the title of the classic work on improvisation by Vinko Globokar Individuum --Collectivum, It relates especially to the challenges of discourse between multiple voices in society --typically exhibiting complex patterns of conflict and cooperation.

It is in this more general sense that the exploration here is concerned with patterns, pattern language, and the communication of patterns. In wider society this is especially challenging when both individual and group performers have a need to attract attention and recognition, and to impose patterns on others or ensure their use of them.

polarities by kenneth slessor analysis

This is typically associated with problematic claims to exclusive ownership of those patterns framed as intellectual property, with consequent constraints on their use by others.

A particular merit of poetry, music and song for this exploration is that their aesthetic characteristics are especially important to the attraction and holding of attention. They are typically more memorable than articulations in the prose and text forms favoured in the multivocal discourse through which society is governed.

Especially important is the manner whereby the aesthetic characteristics render memorable the vital systemic associations which are otherwise readily forgotten --potentially those which are a key to sustainability whatever that may be understood to mean aesthetically. The possibility merits exploration with respect to reframing current challenges of institutional reform Reframing the EU Reform Process --through Song responding to the Irish challenge to the Lisbon Treaty, However, of potentially greater significance is the relevance to the tragic challenges of current conflict Poetic Engagement with Afghanistan, Caucasus and Iran an unexplored strategic opportunity?

By contrast, especially relevant is their recognition of the "dead-end analysis of oral art in terms of written poetics" in its deprecation of such improvisation. Such misunderstanding is effectively symptomatic of the aridity and impotence of many conventional methodologies in practice, however insightful they may be claimed to be. The plethora of commentary with respect to global crisis can be succinctly deprecated in terms of the famous statement by Jack Nicholson:Look, you, I'm very intelligent.

If you're gonna give me hope, you gotta do better than you're doing. I mean, if you can't be at least mildly interesting, then shut the hell up. I mean, I'm drowning here, and you're describing the water!

As Good As It Gets, The exploration here is a development of that previously articulated Multivocal Poetic Discourse Emphasizing Improvisation, Suitably adapted with respect to the aspirations to multivocal improvisation, is there learning in the title of the book by James Hillman and Michael Ventura We've Had a Hundred Years of Psychotherapy --And the World's Getting Worse, ?

Kenneth Slessor

Or perhaps as indicated by the conclusion of Nicholas Rescher:For centuries, most philosophers who have reflected on the matter have been intimidated by the strife of systems.Throughout the poem, he considers the price of war the high number of lives that have been lost because of it.

The speaker describes in the first lines of the poem the way that dead bodies float along the shore of the Gulf of Arabs. The bodies eventually, gruesomely, wash up on the shore.

Eventually, even those markings disappear and the remembrance is lost to time. In the end, the poet describes how these men are united by their common loss of life and their burial in the sand. You can read the full poem Beach Burial here. Slessor engages with the troubling and dark themes of war and death throughout this poem. The poet was likely inspired by his own experiences during the Second World War, which he reported on when writing this poem. He is therefore able to depict death in a very realistic and moving way.

Slessor goes back and forth, describing these dead men as heroic and then as nameless, and then finally as perhaps not even soldiers at all. Their lives were lost to the sea and no one even remembers who they are after death. By the time that Slessor reaches the end of the poem, he is describing the men as being united in their deaths. Together, they are buried on the shore.

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They lost their lives together and are now buried together. These quintains do not follow a specific rhyme scheme or metrical pattern, although there are some examples of half-rhyme and internal rhyme in the stanzas.

Alliteration is another common technique, one that helps to create more rhyme and rhythm in a poem. Enjambment appears when one line transitions into another without the use of end punctuation. For example, the connection between lines one and two fo the first stanza as well as lines one and two of the second stanza. The solemn image is continued into the next times. The bodies move together until they are pushed with foam onto the shore. The imagery turns darker in the next lines when Slessor spends time describing the war these men have now escaped from.

The sand is quickly moved onto the bodies, covering them quickly so that those fighting might get back to the task. This is something that the men fighting have done more than once, its a ritual of sorts, albeit one that is completed quickly. This is the last marker of their lives and it soon falls apart.He published his first poetry in the Bulletin magazine while still at school. Two voices are present in the poem — one voice is the personification of slumber, as mother and lover — the other voice is only heard briefly in the first stanza.

In Sleep, Slessor deals with two cycles, each consisting of four separate stages 4 stanzas. This cycle is compared to the four stages of birth and death through the mother talking to her child: Conception, Development, Birth and Death.

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In order to submit a comment to this post, please write this code along with your comment: 5ccd0fc9b34a2bb02a02a Literature at Las Cumbres. Skip to content. Sleep by K. Sleep Do you give yourself to me utterly, Body and no-body, flesh and no-flesh Not as a fugitive, blindly or bitterly, But as a child might, with no other wish? Yes, utterly. Then I shall bear you down my estuary, Carry you and ferry you to burial mysteriously, Take you and receive you, Consume you, engulf you, In the huge cave, my belly, lave you With huger waves continually.

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Your comment will be queued in Akismet! Proudly powered by WordPress.Add to list. SOMETIMES she is like sherry, like the sun through a vessel of glass, Like light through an oriel window in a room of yellow wood; Sometimes she is the colour of lions, of sand in the fire of noon, Sometimes as bruised with shadows as the afternoon. Sometimes she moves like rivers, sometimes like trees; Or tranced and fixed like South Pole silences; Sometimes she is beauty, sometimes fury, sometimes neither, Sometimes nothing, drained of meaning, null as water.

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Sometimes, when she makes pea-soup or plays me Schumann, I love her one way; sometimes I love her another More disturbing way when she opens her mouth in the dark; Sometimes I like her with camellias, sometimes with a parsley-stalk, Sometimes I like her swimming in a mirror on the wall; Sometimes I don't like her at all.

He published his first poetry in the Bulletin magazine while still at school. He returned to Sydney in to work on Smith's Weekly, where he stayed until Share it with your friends:.

Make comments, explore modern poetry. Join today for free! Sign up with Facebook. Pretty women wonder where my secret lies. Vincent Millay. Inbox x.His images are vivid and immediate, leaping off the page in a confrontational way to transport us into various settings through various explicit and anonymous personas in order to invite us to challenge presumptions and engage in a process of introspection — what does it mean to be human and to experience emotions that may be unsettling?

His poetry represents individual and collective human experiences by tapping into universal feelings that we all share as well as zeroing in on specific personal subjectivities. He captures the passing of time, a sense of discomfort and the reduction of humanity to its vulnerabilities while also revealing our perseverance and grit. He urges us to see the world differently by not retreating from the ugly, the sordid and the unpleasant but rather to acknowledge that it exists.

His poetry sheds light on human motivation and behaviour as a way of highlighting the paradoxes and anomalies present within the experience of living.

While it visually conveys the image of despondence, it articulates the idea of passing time; creating a haunting memory of lost potential and the unsettling human experience of lingering regret.

We are immediately confronted with a setting that is not supposed to be pleasant. Slessor transports us into the wet, murky undergrowth in order to accentuate a lack of hope — the grounds are unsalvageable having already fallen into obscurity. He points towards the idea that the orchard was once well tended to and pruned by families long gone. The fruit is bitter, it is both literally and figuratively hard to swallow; symbolic of the inherent human experience of regret and despair.

The first two lines in Stanza Two brings us into the past where the orchard once held bourgeoning life of cherries and apples, full of hope and promise — bright and almost incandescent.

Time has passed as now, not a single apple or a cherry remains. The semi colon pushes us into the present, the use of terse literal language is blunt and abrupt, shaking us out of the pleasant imagery established in the first two lines of the stanza.

The wild Isabella grapes are characterised as almost deadly, like small bullets, black and pointed. The imagery turns darker, untamed and cannibalistic — the grapes are described with animalistic characteristics; furry and rather threatening.

They burst with acid and the shock of the taste almost stings but is however, compounded by its gipsy-sweetness. The poet is referring to the girl too, the memory of Isabella herself lingers and lurks alongside the Isabella grapes. The grapes also remain long after people have moved on and gone away — nature continues to dominate.

Here we are left with an image of emptiness with the orchard being a place that even swallows have abandoned. This articulates an unsettling stillness and an all too unnatural quietness. The stagnancy of the orchard is unnerving and almost nightmarish, reinforcing the potent human experience of hopelessness and dread. The grapes are described as being misplaced, like the girl herself, existing in the peripheral of society; shunned and outlawed. It provides a snatch and glimpse of her that is incomplete and perhaps not very accurate.

Thus, an ambiguity characterises the poem, lending it a sort of murkiness and ambivalence. The poet questions her fate — whether she was kissed or killed there, he does not know. Here memory is questioned — how could something so different become so blurred; almost melting into the same thing?He published his first poetry in the Bulletin magazine while still at school.

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He returned to Sydney in to work on Smith's Weekly, where he stayed until Softly and humbly to the Gulf of Arabs The convoys of dead sailors come; At night they sway and wander in the waters far under, But morning rolls them in the foam. Between the sob and clubbing of the gunfire Someone, it seems, has time for this, To pluck them from the shallows and bury them in burrows And tread the sand upon their nakedness; And each cross, the driven stake of tidewood, Bears the last signature of men, Written with such perplexity, with such bewildered pity, The words choke as they begin - 'Unknown seaman' - the ghostly pencil Wavers and fades, the purple drips, The breath of wet season has washed their inscriptions As blue as drowned men's lips, Dead seamen, gone in search of the same landfall, Whether as enemies they fought, Or fought with us, or neither; the sand joins them together, Enlisted on the other front.

At the end of the war he returned to the Sydney Sun as a leader-writer and literary editor until He then worked for the Daily Telegraph and Sunday Telegraph. During this period from - he was also editor of the literary magazine Southerly.

polarities by kenneth slessor analysis

My poems 73 Titles list. Beach Burial with German Translation. Do you give yourself to me utterly, Body and no-body, flesh and no-flesh Not as a fugitive, blindly or bitterly, But as a child might, with no other wish? Yes, utterly. Then I shall bear you down my estuary, Carry you and ferry you to burial mysteriously, Take you and receive you, Consume you, engulf you, In the huge cave, my belly, love you With huge waves continually.

And you shall cling and clamber there And slumber there, in that dumb chamber, Beat with my blood's beat, hear my heart move Blindly in bones that ride above you, Delve in my flesh, dissolved and bedded, Through viewless valves embodied so — Till daylight, the expulsion and awakening, The riving and the driving forth, Life with remorseless forceps beckoning — Pangs and betrayal of harsh birth.

Five Visions Of Captain Cook. I COOK was a captain of the Admiralty When sea-captains had the evil eye, Or should have, what with beating krakens off And casting nativities of ships; Cook was a captain of the powder-days When captains, you might have said, if you had been Fixed by their glittering stare, half-down the side, Or gaping at them up companionways, Were more like warlocks than a humble man— And men were humble then who gazed at them, Poor horn-eyed sailors, bullied by devils' fists Of wind or water, or the want of both, Childlike and trusting, filled with eager trust— Cook was a captain of the sailing days When sea-captains were kings like this, Not cold executives of company-rules Cracking their boilers for a dividend Or bidding their engineers go wink At bells and telegraphs, so plates would hold Another pound.

Those captains drove their ships By their own blood, no laws of schoolbook steam, Till yards were sprung, and masts went overboard— Daemons in periwigs, doling magic out, Who read fair alphabets in stars Where humbler men found but a mess of sparks, Who steered their crews by mysteries And strange, half-dreadful sortilege with books, Used medicines that only gods could know The sense of, but sailors drank In simple faith.

That was the captain Cook was when he came to the Coral Sea And chose a passage into the dark. How many mariners had made that choice Paused on the brink of mystery! The wind's way. So, too, Cook made choice, Over the brink, into the devil's mouth, With four months' food, and sailors wild with dreams Of English beer, the smoking barns of home. So Cook made choice, so Cook sailed westabout, So men write poems in Australia. Stone turned to flowers It seemed—you'd snap a crystal twig, One petal even of the water-garden, And have it dying like a cherry-bough.

They'd sailed all day outside a coral hedge, And half the night.

polarities by kenneth slessor analysis

Cook sailed at night, Let there be reefs a fathom from the keel And empty charts. The sailors didn't ask, Nor Joseph Banks. Who cared? It was the spell Of Cook that lulled them, bade them turn below, Kick off their sea-boots, puff themselves to sleep, Though there were more shoals outside Than teeth in a shark's head. Cook snored loudest himself. One day, a morning of light airs and calms, They slid towards a reef that would have knifed Their boards to mash, and murdered every man.

So close it sucked them, one wave shook their keel. The next blew past the coral. Three officers, In gilt and buttons, languidly on deck Pointed their sextants at the sun.


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