This is what makes art-song a special form and certainly 'I Look Into My Glass' commands the respect of both performer and audience. I heard it said that Hardy has a poem about this practice. The poet looks at his reflection in the mirror and laments what age has done to his skin — one can imagine he is looking at wrinkles, a sagging jaw-line and the loss of youthful tone. Tithonus wastes away, growing physically older and older, while watching Eos remain young and beautiful. A dynamic level of between mezzo-forte and forte should definitely be used in measures 5-6 for dramatic purposes, but mezzo-piano or thereabouts should be used in measure 10 to end the first section in an appropriately subdued fashion.
To me this is the most interesting verse in the poem due to the personification of time. He wants you to consider the passage of time, to know that time is passing, even as you read the poem. Time steals away life as a previous analysis stated. The tangled bine-stems scored the sky Like strings of broken lyres, And all mankind that haunted nigh Had sought their household fires. The neapolitan chord, is soon replaced with an increased use of chromaticism and seventh chords some of which are augmented see example below. It is perhaps tempting to believe that this, too, is a poem about his feelings for Florence Henniker, some twenty years his junior.
As a novelist he is best known for his work set in the semi-fictionalized county of Wessex including, Tess of the d'Urbervilles and Jude the Obscure. In the images of his memory, Time stood still. With typical acuteness Hardy does not shirk from the unpleasant or embarrassing truths of his own troubled existence. Here his youthful appearance has gone but his feelings remain robust. Wikipedia Empson entry has entire quote and the inversion, the diurnal and nocturnal both, the utter joy to lean though always with a bit of trepidation at Hardy's coppice gate, with a chance to overhear the darkling thrush. Eyes bluish grey and growing a little white with age, eyebrows and moustached half light brown, half grey. Finzi, 97 Finzi's use of chromaticism lessens by the beginning of measure fifteen when G minor begins to creep in.
He wishes that God should have made his heart and the feelings in it as old as his skin. In keeping with this, I recently heard a few clever words that are often all too true. Speaker: The speaker is Thomas Hardy. Sorry, but copying text is forbidden on this website! There is at least one such relationship in every chord in these measures, and in the most dissonant of chords, such as that which begins measure 1, there are two or even three such relationships. Transposition: The song is available a minor third lower than the original key. The accompaniment therefore spans a range of just three octaves - a tight constraint on the part of the composer - and is directly linked to the privacy of the poem's content.
Bailey is sure that Tom felt especially bad about his own features, and Millgate, unable to imagine any man's general feeling of dissatisfaction with so splendid a thing as even his fifty-two-year-old body male, after all , invents a specific sexual rebuff. This line also personifies the idea of time. Time, with its power, brings surreptitiously, all things to their withering and rest, the most disagreeable of them all being old age and death. Though he feels young, he honestly admits that he looks old. Carlisle extended permission to post this excerpt from his dissertation on September 7th, 2010. Strange I was just reading over Hardy's war poems earlier. However, the presence of two negative words in the line reflects oddly on its meaning and the impression given.
Yes, very much agree with you on the commonality of spirit between Empson and Raworth. Hardy was obviously very hurt by all of this, and that is why he wrote: For then, I, undistrest By hearts grown cold to me, Could lonely wait my endless rest With equanimity. Motif 1, consisting of four quavers occurs 10 times b. Although this happens on beat two, it should have been on a stronger beat that the first syllable. . Hardy uses several words connected with age to conjure the image of a person who is aging fast.
Critics have called it a very emotionally overt ending, with a somewhat forced rhyme-scheme once again. The song is packed, compressed, and powerful. For a brief description about the texture including a table outlining the types of texture and the percentage in which they were used please refer to:. Time too treats him unkindly. The loudest level indication is f and occurs at the emotional climax of the song in bar 14.
The poem is about how physical decay in oneself is not matched by an attenuation of one's desires, and I think that the sexual reading of this line is too obvious to be omitted from an analysis of the poem. This verse recaps the essence of the poem. Free Online Education from Top Universities Yes! The sixth line of the poem is usually connected with Tom's awareness of Emma's specific hostility, but its sense, surely, is that human beings do not often feel romantic love for older, wrinkled specimens. Finzi, 97 For additional information about the original key please refer to:. The accents intensify the effect of the elements collectively employed.