In this visible radiation, the building of memory is imperative: ‘The poet ‘s head is a receptacle for [ … ] hive awaying up [ … ] feelings, [ aˆ¦ ] images which remain at that place until all atoms [ … ] can unify. ‘ The verse form ‘s inclusion in Poems of the Past and Present is declarative of its thematic concerns with clip. It accounts for the past insomuch as it is a childhood memory being remembered every bit good as the present as the act of remembrance is polar in the verse form. The imaginative ‘unseeing ‘ in the rubric is representative of memory and feature of Hardy ‘s poesy: ‘He had problem with the significance of [ … ] words, but [ … ] got no aid from the dictionary. ‘ It allows the older ego to see his present milieus and reinvent the yesteryear, with the talker in the room as he does so ; : ‘She sat here in her chair. ‘ This means intending the yesteryear is evoked every bit solidly as the physical foundations of the house itself. This is intensified when the memories are non merely recollected, but seeable like the ‘footworn ‘ floor, keeping the physical imprints of the household ‘s yesteryear: ‘ [ it represents ] anterior pastness and retrieval. ‘ This enunciation serves to underscore the sense of clip: ‘The memories are so tangible [ … ] that they [ … ] take on the [ … ] physical individuality of existent presences. ‘
This thought is characteristic of Hardy ‘s work. ‘The Traveling ‘ is an look of past declinations that interfere with the talker ‘s present: ‘All ‘s past amend/Unchangeable. It must travel. ‘ The focal point of both verse forms is intense emotion arousing a memory so graphic it borders on hallucinogenic: ‘seeing the yesteryear as a construction beneath the tracings of memory. ‘ This is apparent in the item of the first two stanzas: ‘He who played stood at that place, ‘ for illustration, conjures a clear image of the scene. Furthermore, as the talker confronts the house, the adverbs ‘Here and ‘There ‘ present a position of the empty suites, and the calamity of the talker ‘s world: he exists beyond the life that one time filled the house. More haunting are the short lines and fluid ‘ABAB ‘ rime strategy, making a song-like tone and beat, the metrical form itself ‘contracting and spread outing ‘ like musical tones. Therefore, the memories are non merely ocular but audile, as though he can hear them in the vacant house, with the sound of the music transferred to the formal qualities of the verse form.
This impression of memories manifested within the formal qualities is continued with the adverb ‘Here, ‘ making a sense of the past imposing on the nowadays, which is enhanced by the sudden motions between tenses: ‘Here is the ancient floor, and ‘Here was the former door, ‘ for illustration. Therefore, the yesteryear and nowadays are identical, reinforced in the line, ‘Where the dead pess walked in, ‘ with its combination of tenses. This syntactical abnormality is characteristic of Hardy ‘s work, and has led to unfavorable judgment of his ‘ ” clumsiness ” of manner, sentence structure and enunciation. ‘ However, it is the lone line which does non open with a trochee, and this knowing irregular agreement of the monosyllabic words creates an accent on ‘dead pess. ‘ This ensures that whilst the talker ‘s parents may be dead, they remain present, both in the markers on the ‘footworn ‘ floor every bit good as in the audile effects. These syntactical ambiguities with complex undertones heighten with the line, ‘smiling into the fire. The fire produces a freshness that is the physical manifestation of the internal feelings of contentment: ‘nostalgia and repent with a diversion of [ … ] delectation [ … ] is [ … ] feature of [ … ] Hardy ‘s poesy. ‘ Conversely, ‘unseeing ‘ means the scene is reviewed. Therefore, smiling into the fire is a suggestion of non merely gazing blankly ( ‘looking away’but besides a smile destroyed by the fires. The fire is hence an encapsulated symbol of the heat of the place but besides the smashing of such joy. In concurrence with the line ‘here was the former door, ‘ uncovering change to the house ‘s physical characteristics since childhood, the fire is a motive of the ‘destructiveness of clip. ‘
These complications continue with the word ’emblazoned. ‘ Up until this point, the enunciation and beat combined to make a childlike tone. ‘Emblazoned ‘ is markedly different, particularly when compared with the predating line, ‘Childlike I danced in a dream, the initial rhyme emulating the tone of a kid. However, this alteration foregrounds the elaboratenesss of the concluding two lines, ‘Everything glowed with a glow ; /Yet we were looking off! representing Hardy ‘s ‘double vision: ‘ ‘A poem with ‘opposed point [ s ] of position with no shutting declaration. ‘ The first reading, hence, is regret at unacknowledged felicity. This thought is present in ‘During Wind and Rain, ‘ with the people in the verse form ‘blithely breakfasting. ‘ ‘Blithely ‘ refers to a deficiency of idea or respect, an thought met with the line ‘Yet we were looking off ‘ in ‘The Self-Unseeing. ‘ Both verse forms express a failure to admit of import minutes. It is the grownup talker who values the ‘gleam ‘ and recognises what the kid has failed to appreciate, a impression made all the more tragic with the influence of beat. The predating lines present ‘ecstatic beat rises ‘ on the words ‘danced, ‘ and ’emblazoned, ‘ which is reversed on the concluding line, conveying melancholic focal point to it. This focal point is turned externally with the pronoun ‘we, ‘ mentioning non merely to the talker but world as a whole: ‘we ‘ are all accusable of ‘looking off, ‘ and losing experiences. This subject runs throughout Hardy ‘s work: ‘what begins a [ … ] private injury ends in the common lesion of experience, ‘ with both ‘During Wind and Rain ‘ and ‘The Self-Unseeing ‘ foregrounding the negativeness of the human status: ‘It is the nature of the ego that Hardy describes to hold been unseeing. ‘
Conversely, the verse form can be interpreted as exultation of the kid ‘s failure to grok his joy. The focal point of the verse form is understanding and incorporating these emotions, a impression nowadays in ‘The Voice, ‘ where the talker laments on the dissipation of experience: ‘Woman much missed, now you call to me [ … ] stating that now you are non as you were/when you changed from the 1 who was all to me. ‘ However, whilst the invasion of the past onto the present and the plaint for the yesteryear is clear, it is controlled in much the same manner as ‘The Self-Unseeing. ‘ The heartache here is for the disappearing of a entirely unconscious province of head: ‘He shows his consciousness that the joy experienced and the unconscious of it are ineluctable. ‘ Merely now, in a province of ‘unseeing ‘ can the talker appreciate his ‘blessings, ‘ by understanding that these minutes are everlastingly stored in the memory. The verse form is the physical manifestation of this. The three stanzas stand foring the talker, female parent and male parent has a similar consequence to the house with its footworn floors and empty suites ; the minute of joy is evoked solidly and hence remains irrevokable. The dry turn, hence, is that the consciousness of felicity and the consciousness of want are inextricably linked.