Extended commentary of ‘During Wind and Rain’ by Thomas Hardy Essay

On the Title An ambiguous and interesting choice of title, in that it is as I result show both contradictory with the tense (or time-scale) used in the poesy and draws the readers attention to descriptions of the weather. The word during makes the weather conditions affect the present. However, the poem is mostly written in the diachronic present and many of the stanzas depict visualises of bright, grateful days non the wind and rain every(prenominal)uded to in the title. There is clearly an intentional discrepancy being score here by courageous.Quote SLS Bew atomic number 18 during, the incongruous preposition.Overall Structure Four stanzas of seven production eminences, with a very strange ( just regular) rhyme scheme. portly uses a very odd structure indeed. The rhyme scheme utilised in the poem consists of ABCBCDA.There argon multiple terminations of this* The sixth line in the stanza breaks the poetic flow of the stanza, as it is the only line not to rhyme with another hence acting like a mid-stanzaic volta. It draws attention to itself. Therefore, it should fuck as no surprise that the sixth line of every stanza breaks away from the case of familial happiness painted in the previous five lines, and turns the instance to the contrasting theme of death. Observe the refrains used* The drawn out A rhyme encompasses the entirety of to each ace stanza. Given that the last line (about death) is linked to the freshman (about breeding), is intrepid trying to show the unavoidable connection of life and death?* Seven lines to each stanza possibly represent a week, just as the quadruple stanzas represent the seasons? Very poor allusion.Themes death, Family life, Time, The Seasons.Difficult Language Notes Blithely means happily.First Stanza NotesThey sing their dearest songs He, she, all of them yea,Treble and tenor and bass,And champion to playWith the candles mooning each faceAh, no, the years OHow the sick leaves reel down in throngs This poem is one full of repetition and refrain. The general layout of each stanza, in terms of theme, organisation and repetition of certain lines, remains constant. Each stanza, for example, opens with an image of a family presumably the same one throughout in a place, or carrying out an action, in a unified and happy way. This stanza evokes a pellet of the Victorian family gathered, singing, around a piano (one to play), as piano playing and sing-a-long was, of course, very common in darings time.Note how he only uses personal pronouns distancing effect?Hardy goes to perhaps innate lengths to show the familys unity. On a critical note, one could criticise his rather inefficient use of the first four lines of this poem, but that is not our aim. close to analytic thinking* They sing their dearest songs. Note the use of a superlative adjective in dearest. It is the first of many. We may query its message perhaps it indicates a certain reverence to familial attitude, both in Hardy and in the family itself. They are enjoying it* He, she, all of them. Illustrates a togetherness within the family one which (as Hardy will later comment upon) Death inevitably overcomes. The following line regarding the different musical voice (Treble and tenor and bass) illustrates a similar thing, but is used to point out that Death affects all elements of family, regardless of age. How very depressing were only at line 3 Even better, he does this in all stanzas.* yea Note use of colloquial (conversational) affirmative. Not only is it used to force the rhyme scheme, but it contrasts with the later Ah, no, which is negative. Hardy does this in all stanzas. Without jumping ahead, however, it is scarce a friendly comment of approval.* With the candles mooning each face Night time scene. Interesting, seeing as it contrasts with the other images presented, which are all in bright daylight.* Ah, no the years O Thus we encounter the inter-stanzaic volta. Not only does the rhym e scheme depart from regularity (We tag the sixth line in all stanzas the D rhyme, as it is the only line not to have a rhyming companion). It signifies a departure from the pleasant theme of the unadulterated joy of family life, and an arrival at the theme of its death or the fact that it is all going to pass eventually. As before mentioned, the Ah, no contrasts with the previous affirmative. The actual sense of this line is rather obscure. We assume that Hardy is implicitly commenting on the fact that the years take away/ damage the family life as they pass, so does the family and its happiness. O is an ejaculation, expressing sadness or mourning for the family.* How the sick leaves reel down in throngs Hardy march ons his ideas about death. Here is a line referring to the autumnal decay of life leaves falling and the way in which it precedes Death. Note how the leaves, when considered in throngs, may represent people? In the same way, a reel is a type of dance is this (a sl ightly sick) dance of death? Unlikely, but we must remember that Hardy has no qualms with tragic irony.Second Stanza NotesThey clear the crawl moss Elders and juniors aye,Making the pathways neat and the garden gayAnd they build a shady seatAh, no the years, the yearsSee the white storm-birds wing across formerly again, Hardy begins his stanza with an image of the family, this time in the garden presumably in spring, as suggested by the fact that they are clearing the remains of winter (the creeping moss), whilst he describes the garden as gay. One can immediately recognise the structural similarities shared with the first stanza, as well as the meaning behind the pleasant image.* Note that Hardy now observes that both Elders and juniors participate again, he differentiates between the different members of the family, but now uses the factor of age, as unconnected to musical voices. This serves only to strengthen the authorized analysis that unity may be visible and, indeed, e njoyable, but it is only fleeting in the face of Death. gentle* Observe how the familys actions are arranged around both making the place neat/pretty and around comfort. Making pathways neat and building a shady seat have only temporary effects upon happiness the moss will grow back, the pathways will become untidy in time, when Winter (representing Death and decay) comes. Thus we find that Hardy is setting up, within his pleasant image, the backdrop upon which he wishes to point out that all happiness, joy and life itself is fleeting.* Or is it an image of the futility of human endeavour the weather will erode the order imposed upon it, and ultimately Death will prevail?* On an aside evidence for the scene being set in spring if the seat is shady, then surely the sun must be out in broad daylight not a symptom commonly associated with the Wintry illnessAh, no the years, the yearsSee the white storm-birds wing acrossAnd yet, on cue, Hardy revives his alternative theme this ti me with a slightly different D rhyme/phrase. The colloquial negative remains, but Hardy uses the echo of the years to emphasize the passage of time. He uses the same phrase in the fourth stanza, yet repeats the primary ejaculation in the third stanza (they alternate).The final line of the stanza is rather interesting. Storm-birds sound like mythological beasts perhaps the extremity of phrase reflects that of Death? yet they are most likely geese, flying away before Winter comes. It is not as deplorable an image as that of the leaves reeling, but it again points to the same idea. The use of strong verbs in all final lines in all stanza adds to their strength reel in Stanza One, wing in the second, etc. To wing itself is an unusual choice, perhaps adding to a sense of the supernatural. Think back to Neutral Tones and the ominous bird a-wing. The verb has the same effect here.Third Stanza NotesThey are blithely breakfasting all Men and maidens yea,Under the summer tree,With a glim pse of the bay,While pet fowl come to the kneeAh, no the years OAnd the rotten locomote is ript from the wall.Here Hardy is at last hard-core about the season and its effects much as free fall and Winter are representative of Death and decay, spring and summer bear idyllic delights. In this stanza, we find ourselves in the latter.One cannot overdo the emphasis which Hardy applies to the seasons. He pictures human life as tragically linear, whilst comparing it to the inevitably cyclical seasons. In the end, the seasons especially Winter bring about the decay of a finite life. And yet, to begin with, this stanza suggests that the family are blissfully unaware of that fact.* Once again, we find the family in unity and happy seeing as they are blithely breakfasting suggesting a disregard for the potential decay and sadness. They appear to live in the happy present.* It has been suggested that the family have now grown up, seeing as they are now describe as Men and maidens as oppo sed to Elders and juniors. Side point no way to substantiate claim. Of course, now Hardy differentiates between them using sex all the more differences which Death can overcome.* Allusions to an Arcadian ideal a perfect landscape, full of happiness are impossible to avoid. Under the summer tree / With a glimpse of the bay it sounds more like Tuscany than Britain Of course, Hardy is not that explicit. The bay may just as well be a bay tree, as much as a bit of coastland. Still, the image remains idyllic. And yet, I Death am here.* The pet fowl may represent a further source of happiness domesticated or agricultural livestock have always been kept for the happiness of ones stomach or ones heart. Either will do. More human endeavour to be laid waste to by Death?Here, as usual, the poem breaks away and returns to the original ejaculation about the years passing. Note how the O lengthens the line it slows the reader down. Otherwise analysed above.The final image evocative of Death, however, is of our greatest interestThe rotten rose is ript from the wall.Again, an ambiguous phrase creates the sense of sickening mystery which Death itself possesses. Not only does the obvious alliteration of the r sound mount both the emphasis and force placed upon the final verb, but it also mirrors the ugly nature of the act itself. Ript is merely an archaic spelling of ripped the sense is the same and bears the same strength. heretofore who, or what, rips up the rose? Obviously, the image is representative of Death claiming a life the verb suggests an unpleasant or untimely death. Quote SLS A fulfil severance from life. Perhaps we can extrapolate this further to make a comment on the cruelty of Death in Hardys eyes? It may well be the wind. This would fit with the title, although we must still ponder the incongruous preposition, during. Perhaps the entire image is metaphorical, and Death is simply watering a previously beautiful flower (rotten is probably representative o f old) away from life?Fourth Stanza NotesThey change to a high juvenile kin,He, she, all of them aye,Clocks and carpets and chairsOn the lawn all day,And the brightest things that are theirsAh, no the years, the yearsDown their carved names the rain-drop ploughs.Clearly the family have grown richesier, to move house and, it seems, they have moved quite literally up in the world, as it is a high one. One may question whether this stanza overly reflects upon the materialistic joys of the world. peradventure that is Hardys intention. I doubt, however, that this is an explicit attack upon those who value material objects rather a memento mori, in that, despite the temporary pleasure of wealth and possessions, Death will always claim victory. Deeper analysis* Note how we have returned to He, she, all of them. Have we come round in a full generational cycle?* The weather remains good, as the family display their possessions on the lawn, presumably as they either prepare to move them to the new house from the old, or simply before they have been properly installed. Clearly Hardy is using summer to represent joy and prosperity.* The language bears little complexity hence little analysis Is this done to reflect the simple, but enjoyable, pleasures of materialistic desires and good weather?* Brightest things which are theirs. Note another superlative. Relevance/ importance, other than to add emphasis?(Have previously analysed the secondary ejaculation. Now repeated.)The final image of the poem is possibly the most interesting, dramatic and explicit.Down their carved names the rain-drop ploughs.Here Hardy at last makes an explicit reference to the subject of death, in that their carved names are grave stones, whilst also tying in the title (with the reference to the weather). Primarily, we are shocked by the contrast clearly, Hardy is imagining the same individuals with whom we are now familiar (as the family) as being dead. They have been buried. This is a very sudden and rather upsetting realisation. Hardy very successfully makes his point about the frailty and temporal nature of life. Their successes and happiness are irrelevant. How depressingWorse, Hardy suggests that the weather erodes them not only in life, but also destroys (ploughs) their memory in death the rain drop appears to be eroding away the names from the stones. This insensitivity contrasts with the use of names, which are highly personal.Perhaps, however, Hardy intends ploughs to be positive. As in the agricultural sense, the rain drop prepares for new growth?Final note Is the narrator writing the poem in the grave-yard? Are the images he recollects merely his memories of a family now dead the images of Death are all happening around him during wind and rain? cagey point. Perhaps.