Extended commentary of ‘The Pine Planters’ by Thomas Hardy Essay

On the Title A childlike reference to the characters draw in the first part of the metrical composition. Overall, though, it refers to an in the dispiritning work by venturous, named The Woodlanders. Marty South note the lack of explicit grammatical gender reference in the name is a character from The Woodlanders whose thoughts are uttered in an odd, stream-of-consciousness-esque r perpetuallyie. brave is interested in the melancholy of both tender-hearted descents and within nature the lack of meaning he plunder suffer in natural suffering.Overall Structure Hardy splits the verse into both parts, with two very different structural styles1. furcate I takes a ballad physical body 8 English quatrains with a mostly ABCB hoarfrost scheme, but with the occasional use of an alternate scheme when emphasis is required. Hardy uses very simple language by and throughout this stanza the images presented are equally so.2. Part II contains three stanzas of 12 grades, with an alternate rhyme scheme. Consequently, the poem loses its feel of ballad and, as the lines increase in length, becomes more than abstract and ambiguous. This allows for an increased intensity, both in the content and exploration of the images produced. It allows for no more emotive punctuation eitherDespite being linked in content, the two parts have very different structural nuances. rugged Language NotesHalt and hoary is an archaic phrase for old and gray-headed.ThemesNatures lament, Man and Nature, RelationshipsNotes on Part IThe poem must be discussed separately, in terms of its parts, before comparing the two. However, Hardy writes in such short stanzas that analysing each one and only(a) would be pointless, to that degree the meaning behind Hardys Part I is described very gradually. Therefore, a summaryHardy writes, in the first person, of a couple who work in woodry. It is assumed that the persona is fe masculine (or other than homosexual, which would present an intere sting perspective) and is called Marty South in this case, the ambiguous name is kind of certainly female. South is a character originating, as mentioned before, from Hardys earlier work The Woodlanders. South is engaged in a relationship with a partner upon whom she dotes, but is slighted due to the males meandering(a) eye. South writes to explain his apparent indifference towards her.However, Hardy uses this report of suffering (in relationships) and applies it, in Part II, to the trees that the pair plant.In Detailsexual relation movement of the two characters is of great importance to Hardy or rather, the fact that the persona doesnt move and therefore suffers the cold of the blast and line. This is made clear, along with the setting for her predicament, in the first stanza He fills the acres in/ I hold the trees. The woman has no mobility.This is made clearer in the second stanza what I do/ Keeps me from moving/ And chills me through. More importantly, though, he does n ot notice. This simple observation of a married man not noticing his wifes routine suffering (suffering, as it is later revealed, which is endured only to be near him.) is shocking to the reader. The wife is made initially into a tragic beast of burden this lack of physical drive leave alone eventually come to represent her inability to achieve any motion in life. Hardy deliberately utilises the understatement and plainness of speech to accentuate this fact. In the next stanza, he reveals why.He has seen one fairer. Again, utilising understatement, Hardy introduces (in a observably less fixed reality) a third figure to the poem the males true love interest. Hardy, by portraying such a betrayal from the victims eyes (as well as excoriate the male to interest based upon attractiveness alone) again achieves a sensory faculty of sympathy from the reader. The males eye skims me as though I were not by. Apart from the obvious sense of being ignored, Hardys use of skims is particula rly effective in emphasizing the males partial glimpse of his partner.Add. Note The last line of each stanza is passably contracted, drawing attention to it. It is therefore noticeable that each 4th line features an emotive sentiment all express revealing elements of the characters relationships. This is equally accentuated through the rhyme scheme, which draws both the 2nd and 4th lines together.Hardys lynchpin emphasis next is that since she passed here the male has thought only of (the new) her and the forest the woodland hold him alone. Equally, the persona is busy with her thoughts presumably in the form of this reverie This stanzas final line is particularly noticeable through its contraction. On a different note, there is an element of complaint in the personas tone she never wins any small phrase of praiseThis highlights a coming theme, in that the pair fail to run out to each other at all. They are both equally tranquil with their thoughts and he, as above, never off ers praise nor, it seems, any verbal or randy contact. What makes the relationship tragic is that she makes no effort eitherThe final two stanzas of the first part require more focussed analysis, as they begin to move to action on the part of Marty or rather (as it may be) to further inaction.Shall I not sigh (1) to himThat I work onGlad to be nigh to him (2)Though hope is gone (3)?Nay, though he neverKnew (4) love wish mine,Ill bear it ever (5)And make no sign (6)Desperation, along with ridiculous pleasure, dominates Hardys final stanzas sighing has always been a poetic expression of desperation, enforced by the visible expression of hopelessness (3). One therefore questions Martys sound judgment if she is aware that her relationship with her male partner has been afflicted to its present last (an argument further supported by the use of the past sift at (4)) then why does she stay there? Why is she unavailing to move herself physically, emotionally or verbally from her f ixed spot? She is like the tree which she plants immovable but suffering because of it.Much as one can muse upon Hardys own Modernist views (see the previous poem for the question of Modernist principles upon human suffering) on the matter, the persona suggests a very simple answer see (2). She still loves the male. This creates a scenario an immovable object, enduring suffering, refuses to exhaust from desperation because Nature/emotion has dictated it must stay which is passed on to Part II.Note the irony of the persona she says, through the medium of literary suspension, that she can make no sign. But we are reading it Shes qualification a sign, therefore So, perhaps Marty Souths Reverie is her paradoxical sign?