Through the overcoming of previous obstacles, a journey might be a catalyst towards the broadening of one’s comprehension of the world. Gwen Harwood’s composition Father and Child check out new understandings of mortality engendered by a transformed point of view, whilst L’ensemble des Murray’s Planting season Hail delves into a enhanced understanding of existence provoked by an abandonment of the past. Frank Darabont’s film The Shawshank Payoff ultimately encompasses both of these notions, thus permitting a greater understanding of the world.
A journey of maturation requires a difference in perspectives, which inevitably leads to a broadened understanding of existence. In Father and Child, Gwen Harwood illustrates this shift in attitude throughout the characterisation of the female persona at two stages in her life. The metaphor in ‘Barn Owl’, Grasp of life and loss of life illustrates the incongruous power the child offers, but the zusammenstellung einander widersprechender begriffe wisp-haired assess alludes to the immaturity and ignorance from the young lady. Furthermore, the symbolism in I saw these eyes that did not see mirror my cruelty displays a change in perspective by an ignorant child not understanding the significance of shooting an owl to conceding the seriousness of her act. Therefore, the personality undergoes an eventual alter of belief which comes from a more all natural understanding of fatality, signifying a turning point in her voyage to maturity. In the second section, Nightfall, Harwood uses a Biblical allusion, times long-promised terrain to represent the approaching death with the girl’s dad, which juxtaposes the positive associations of the Biblical allusion on its own. As the 2nd section advances, it is evident that the persona’s life trip has led to a heightened understanding of life and fatality, with a feeling of fulfillment evoked through the extended metaphor Since there’s no more to taste ripeness is plainly all. Father, we choose our last fruits in the temporal. On the end from the poem, Harwood adopts a melancholy strengthen, with the Shakespearean allusion, Be your tears damp? conveying the personas getting back together and mutual respect on her father as he approaches the closing phases of his journey. Consequently , through an exploration of Gwen Harwoods Father and Child, one can perceive that a change in points of views may be a catalyst to get a broadened comprehension of life.
Drawing parallels to Daddy and Kid, Darabont in The Shawshank Redemption (1994), explores how a difference in perspectives within a journey may possibly consequently cause a more optimistic outlook worldwide. This is portrayed through the leading part Andy Dufresne, who sails on an inner journey in prison with the intent of redemption for the crime he was wrongly found guilty of. The notion of a switch in perceptions is significant in the film, with the tagline, “Fear holds you prisoner. Hope can set you free” showcasing the need for a changed mentality, especially upon unfavourable trips. In an opening sequence, Darabont successfully delivers the protagonist’s bleak thoughts through the darker lighting and mis-en-scene in the prison protects and cellular material. Yet Dufresne reveals a great emotional shift from frustrated to optimistic, evoked throughout the imperative strengthen, “Get occupied living or get occupied dying”, hence signifying hope in the world outside the house his penitentiary confines. This kind of notion of hope can be reinstated through the dialogue, “Hope is a good thing…no good thing at any time dies”, which represents the protagonist’s shifted point of view of the world by embarking on an inner trip. Furthermore, the last scene over a sunlit beach front reveals good outcome of Dufresne’s voyage through the use of glowing lighting and warm non-diegetic music, juxtaposing previous dark scenes in the prison. Consequently , both Daddy and Kid and The Shawshank Redemption demonstrate that a thorough outlook on the world comes from an individual’s shift in perceptions.
A journey of maturation requires an individual to relinquish their very own past to embrace the future, leading to a broadened knowledge of the world. In the poem Spring Hail Des Murray demonstrates this notion through the characterisation of a young boy when he embarks with an inner journey into adult life. Murray uses the image imagery of a shed, in the scent of vanished hammer toe and wild bush parrots, as a metaphor for the boys very own childhood, selling feelings of safety and comfort within the building. Upon emerging, the boy seems apprehensive regarding the near future, together with the phrase we came anxious at the stop that grew about us, and came out highlighting his unwillingness to leave the security and familiarity of his childhood behind. As the boy approaches the end of his journey out of childhood, he could be fearful in the unknown, emphasised through the repetition in the lines, we begun to trespass even though I consumed ice, and wandered, and ate ice cubes. However , when the young young man tests the inroads into his new life, this individual realises that he is keen to experience and embrace the near future, demonstrated throughout the rapid tempo and verb choices in time to break peace… battering wind, and become rapidly gone. Thus, it really is evident which a greater knowledge and confidence stems from a great abandonment of the past throughout a journey.
In the same way, in The Shawshank Payoff, Darabont promotes an individual to abandon your past for a successful inner journey to occur. During this journey, protagonist Andy Dufresne attempts a new existence, connoted throughout the positive emotive language, “They say it includes no memory space. That’s wherever I want to live the rest of my life. A warm place with no memory”, thus emphasising the need to give up past shock to the system for a enhanced perspective on the planet. A sense of revitalization is exemplified through the characterisation of Dufresne, with a mis-en-scene depicting his hunched shoulder muscles and little speech in early scenes juxtaposing his self-confidence and defiance as the film progresses. Dufresne’s desertion of his past ‘guilt’ allows him to start an inner journey, while using cathartic results evident in the last scene, symbolised by a high-angle shot along with a white backlight showing a renewed sense of self. In this scene, can be depicted arms outstretched within a crucifixion pose with grand non-diegetic music crescendoing.
Employing exceptional strategies that non-etheless recollect the topics of Harwood and Murray, Darabont uses a visual Biblical allusion to establish a connection among a enhanced understanding of the world and a great inner quest. Therefore , both equally Spring Hail and The Shawshank Redemption reveal that an person gains maturity and a broader perspective of the world because of their defeating of past obstacles during a journey. Finally, an individual’s enhanced understanding of the world is a result of altered perspectives or the relinquishment of the past.
