Docsity
Docsity

Prepare for your exams
Prepare for your exams

Study with the several resources on Docsity


Earn points to download
Earn points to download

Earn points by helping other students or get them with a premium plan


Guidelines and tips
Guidelines and tips

Reflections on Love and Time: A Poetic Exploration of the Transitory and the Primaeval, Study Guides, Projects, Research of History

An analysis of thomas hardy's poem 'at castle boterel.' the poem revolves around the themes of love, time, and the transitory nature of human experiences. The author delves into the use of literary devices such as alliteration, assonance, cesura, and enjambement, among others, to convey the vivid picture of a past memory and the contrast between the present and the past. The document also discusses the importance of the poem's structure and the significance of the poem's title and context.

Typology: Study Guides, Projects, Research

2021/2022

Uploaded on 09/12/2022

queenmary
queenmary 🇬🇧

4.6

(15)

218 documents

1 / 4

Toggle sidebar

This page cannot be seen from the preview

Don't miss anything!

bg1
At Castle Boterel
As I drive to the junction of lane and highway,
And the drizzle bedrenches the waggonette, waggonette open carriage
I look behind at the fading byway,
And see on its slope, now glistening wet,
Distinctly yet
Myself and a girlish form benighted
In dry March weather. We climb the road
Beside a chaise. We had just alighted chaise light cart
To ease the sturdy pony's load
When he sighed and slowed.
What we did as we climbed, and what we talked of
Matters not much, nor to what it led, -
Something that life will not be balked of balked of - denied
Without rude reason till hope is dead, rude reason robust, good
And feeling fled. feeling fled feeling has gone
It filled but a minute. But was there ever
A time of such quality, since or before,
In that hill's story? To one mind never,
Though it has been climbed, foot-swift, foot-sore,
By thousands more.
Primaeval rocks form the road's steep border, from the earliest ages in the world’s history
And much have they faced there, first and last,
Of the transitory in Earth's long order; transitory not permanent, passing; order - history
But what they record in colour and cast cast construction
Is - that we two passed.
And to me, though Time's unflinching rigour, though Time has taken
In mindless rote, has ruled from sight though Time in its mechanical way, has taken my beloved away
The substance now, one phantom figure
Remains on the slope, as when that night
Saw us alight. alight get out of the cart
I look and see it there, shrinking, shrinking,
I look back at it amid the rain
For the very last time; for my sand* is sinking,
And I shall traverse old love's domain travel across the land that belongs to love
Never again.
*sand refers to the sand running through an hour glass; in other words, Hardy is an old man.
pf3
pf4

Partial preview of the text

Download Reflections on Love and Time: A Poetic Exploration of the Transitory and the Primaeval and more Study Guides, Projects, Research History in PDF only on Docsity!

At Castle Boterel

As I drive to the junction of lane and highway, And the drizzle bedrenches the waggonette, waggonette – open carriage I look behind at the fading byway, And see on its slope, now glistening wet, Distinctly yet Myself and a girlish form benighted In dry March weather. We climb the road Beside a chaise. We had just alighted chaise – light cart To ease the sturdy pony's load When he sighed and slowed. What we did as we climbed, and what we talked of Matters not much, nor to what it led, - Something that life will not be balked of balked of - denied Without rude reason till hope is dead, rude reason – robust, good And feeling fled. feeling fled – feeling has gone It filled but a minute. But was there ever A time of such quality, since or before, In that hill's story? To one mind never, Though it has been climbed, foot-swift, foot-sore, By thousands more. Primaeval rocks form the road's steep border, from the earliest ages in the world’s history And much have they faced there, first and last, Of the transitory in Earth's long order; transitory – not permanent, passing; order - history But what they record in colour and cast cast – construction Is - that we two passed. And to me, though Time's unflinching rigour, though Time has taken In mindless rote, has ruled from sight though Time in its mechanical way, has taken my beloved away The substance now, one phantom figure Remains on the slope, as when that night Saw us alight. alight – get out of the cart I look and see it there, shrinking, shrinking, I look back at it amid the rain For the very last time; for my sand* is sinking, And I shall traverse old love's domain travel across the land that belongs to love Never again. *sand refers to the sand running through an hour glass; in other words, Hardy is an old man.

In the sequence of 1912-13 poems, this follows ‘After a Journey’ (when Hardy has arrived in Cornwall in early March 1913 to revisit the places where he and Emma first met and were happy), and ‘Beeny Cliff’ when he walks along the clifftop where Emma rode her pony and he walked in March 1870. The poem opens in the present tense on a drizzly March day. Hardy is driving in a waggonette, an open carriage. As he approaches the main road (the highway) he looks behind him at the little lane, or byway, he has been travelling along. It is fading in the mist and drizzle. It seems to him that he can see himself and a girlish form (Emma) on a dry March evening 43 years earlier. They had just got out of the chaise (light cart) because it would make the pony’s job easier; the pony had ‘sighed and slowed’ as he tried to pull them up the hill. Just so, in Greek legend, Orpheus tried to recover his dead wife from the underworld and just so he looked behind, with disastrous consequences – she was lost to him for ever. Is that the case in this poem? The lonely ‘I’ of the first verse gives way to the happier ‘we’ of the second and third verses, as Hardy vividly describes the earlier memory. In the lonely present, the weather is gloomy and everything is drenched. Repeated ‘dr’ alliteration effectively ‘bedrenches’ everything with ‘drizzle’ ‘As I drive’. The sound of the drizzle is conveyed through the lightly hissing s’s in ‘drizzle’, ‘see’, ‘slope’, ‘glistening’ and ‘distinctly’. There is also a conspicuous repeating of the ‘i’ sound in ‘I’, ‘drive’, ‘highway’, ‘behind’ and ‘byway’. It continues into the second verse with ‘myself’, ‘benighted’ (which means overtaken by darkness; Hardy refers in verse 6 to ‘that night’), ‘dry’, ‘climb’, ‘alighted’, ‘sighed’ and is still present in the third verse with ‘climbed’ and ‘life’, and in the fourth verse, ‘a time of such quality’, and in the fifth, ‘primaeval’. One must be guessing, but does this sound form a linking function? Does it link the past with the present perhaps? Help to convey the vivid picture of that March day so long ago? Do the ‘i’ sounds in the first two verses lead to the key words containing this vowel sound: the key moments and claims in the poem: ‘something that life will not be balked of (denied)’ (verse 3), ‘But was there ever / A time of such quality, since or before’ (verse 4), and the final claim that the ‘primaeval rocks’ ‘record … that we two passed’ (verse 5). (‘Primaeval’ means, from the earliest ages of the world’s existence.) The ‘I look behind’ of the first verse signals Hardy’s retrospective describing of his past experiences – he looks back to ‘myself and a girlish form benighted / In dry March weather.’ The verse break, which is an enjambement, between verse 1 ‘I look behind .. And see … / Distinctly yet’ takes us over 43 years back into the past of verse 2, ‘Myself and a girlish form …’. Perhaps in an attempt fully to recapture the past, Hardy describes the past scene in the present ‘We climb the road / Beside a chaise.’ Then he moves (more truthfully) into the past, ‘We had just alighted’. The considerable cesuras in the second and third line convey the lovers’ slow pace as they climbed the hill. At first verse 3 continues in the past tense: ‘What we did as we climbed, and what we talked of…’. But then it moves into the present, and even the future, because what it articulates are constants and essentials in human life: Something that life will not be balked of denied Without rude reason till hope is dead, good And feeling fled.

Enjambement or run-on lines – when there is no punctuation at the end of a line of verse and it runs straight on to the next line. Onomatopoeia – the effect when the sound of a word reflects its meaning, like ‘plash’. Personification – when something that is not human is referred to as if it is a person, for example, the Titanic, ‘still couches she’. The effect is usually to exaggerate some aspect of the topic. Repetition – repeated word or meaning. Rhyme – very similar to assonance; same vowel sound and final consonant, for example, ‘say’, ‘decay’. Masculine rhyme – when the final syllable is stress, as in ‘say’ and ‘decay’. Feminine rhyme – when the final syllable is not stressed, as in ‘growing’, ‘showing’. Rhythm – the musical beat of the line, with stressed and unstressed syllables (the stressed syllables will be the important ones). The different rhythms have different names. Trochee (trochaic): strong light, strong light; iamb (iambic): light strong, light strong; dactyl: strong light light, strong light light; anapaest: light light strong, light light strong. If puzzled, try Wikipedia which is very clear on the subject. Then there are technical words for the number of lines in a verse or stanza. Quatrain – four lines in a verse Sestet – six line Octave – eight lines