Journeys

journeys Speech Have you ever been so engrossed, immersed in a novel, that you’ve lost all sense of time' Where reality becomes blurred with the realms of the imaginative' Where characters come to life, their traits, looks, personalities and actions, every bit real as the novel you hold before you' Most likely I’d say….. In that case you’ve experienced and undertaken an imaginative journey. Imaginative journeys are a recurring concept, constantly being probed by composers, especially imaginative ones, where we as the responder get lost and entangled in the wonderful world of fiction, fabricated by witty composers. Over time through the exploitation of language features, positioning of we, the responders and the plot of texts including characters, setting- composers have created an illusionary world that seems that every bit real as we read. A representation of imaginative journeys in a text is one of the great William Shakespeare, his later text, ‘The Tempest’. It’s a complex, detailed and strikingly composed play, which encompasses everything Shakespeare has ever inscribed into his works. It possesses love, treachery, revenge, magic, exploration. All these aspects of Shakespeare’s previous texts come together to transform this text, its characters, its plot and its values and ideas, into a ‘blockbuster’. On the other hand, is ‘The Road Not Taken’ another profound and philosophical poem composed by the brilliant Robert Frost who as always presents an unique and oblique perspective of things such as an imaginative journey, in his texts. Both texts serve as stimulus for our senses, acting as vehicles for our imagination, driving the imaginative journey forward using all language and composition techniques available. The context of “The Tempest” is significantly relevant to the audience Shakespeare would’ve been targeting during the Jacobean era, reflecting the heavily Eurocentric values and attitudes of the time. During this period, also referred to as the Elizabethan period, monarchy, social hierarchy and exploration of new “worlds” was highly regarded. This accurate and detailed aspect of the play allows us as responders to fully grasp the play and behold its imaginative qualities. “Do you not hear him' You mar our labour. Keep your cabins – you do assist the storm.” -Act 1 Scene 1 Lines 12-13 From this extract from the opening scene in ‘The Tempest’ the natural order, a Eurocentric view of the social hierarchy, is disturbed. This disrespectful and insolent remark made by such a lowly figure in society to that of higher class, in fact nobility, immediately signals that with order disrupted, ‘chaos will erupt’. This followed by the discovery of ‘Prospero’s Island’ adds to the imaginative journey. The island is depicted as exotic, and uninhabited, a new and exciting concept to the Eurocentric society which Shakespeare exploits by creating such a foreign and magical realm. “Though this island seem to be desert-……. Uninhabitable, and almost inaccessible-“ -Act 2 Scene 1 Lines 35-38 This line clearly demonstrates the wonderment Antonio, Adrian and Sebastian find on the island. These appropriately emphasised attributes of the Elizabethan era allows us as responders to easily and effortlessly drift off into the world of the imaginary journey. This reiterates the acknowledgement of composers constantly and effectively pursuing the topic of the imaginative. Robert Frost however, achieves representing imaginative journeys in his poem ‘Road Not Taken’ differently yet just as effectively. Whilst lacking the depth and detail ‘The Tempest’ comprises, it too achieves a sense of the imaginative journey by relating to the context of a physical journey. This extended metaphorical relation to a physical journey, easily allows us to grasp and become conscious of the imaginative journey. The context is quite general but a noticeable focus is on autumn and a divergent path. “Two roads diverged in a yellow wood…” -Stanza 1 Line 1 This simple yet composite line makes use of autumn, being the season of change, with the descent of the old, and the coming of the new, the fresh and novel. This indirectly instigates recognition from us, the responders, of the path being a journey to: enlightenment' Self-discovery' Growth' All of these journeys become possibilities in our interpretation of the poem as an imaginative journey. Robert Frost continues this extensive metaphor to where a decision must be made over two physical paths. This is a transparent referral to having to make a decision on his imaginative journey that’ll perpetually alter and transform him as a person. As responders we instantly comprehend and relate to this, thus allowing ourselves into and beyond the imaginative aspects of this poem. Another important aspect in transcending us into the imaginative journey would be Robert Frost’s generalised and vague, solitude character. The character lacks, a personality, any physical description, yet the way the text is composed, effectively incorporates the character posses an inclusive quality, which we all see ourselves in. The continual use of ‘I’ further positions us as responders to empathise with the character, thus together with this blurred character, we undertake the imaginative journey. “I could…… I stood….. I kept…… I doubted” (Throughout poem) This aspect of “The Road Not Taken”, its character/s, contrasts greatly with the punctuated characters of “The Tempest”, which are greatly portray and deftly illustrated. Each individual character has its flaws and faults, qualities and skills which serve as a catalyst for their individual journey. Prospero, the disposed Duke of Milan, is an example of a character undergoing development through his own journey, which we as responders are positioned to perceive, as we become encapsulated within the text. Prospero throughout the play, conjures up the storm, creates illusions and summons wild and mythical beasts all in attempt to revenge his tarnished status. However Prospero is able to learn and acknowledges his faults, coming to a realisation that his world had no need to revolve around revenge. “The rarer the action is in virtue, Then in vengeance.” -Act 5 Scene 1 Lines 27-28 This extract of the play, refers to Prospero’s realisation that whilst undergoing his journey, he’s learnt ‘it is more noble to show compassion than to take revenge.’ This signifies the end of Prospero’s journey as a character, and heralds a change in the imaginative one, we as responders has undertaken. The portrayal of a character enduring an imaginative journey encourages we responders to undertake one too. Thus the use of characters by these composers is clearly intended to entangle us responders into the unescapable world of one’s imagination. The use of such appropriate characters in “The Tempest” by William Shakespeare is accompanied by exquisite use of language features. Through language features Shakespeare is able to manipulate our senses, influencing our imagination in interpreting the text. From the start, Shakespeare deploys stage sound effects immediately seizing the audience’s attention. “A tempestuous noise of thunder and lightning heard.” This opening sequence of on stage sounding is representative of the tempest Prospero conjures. This dramatic and chaotic opening entices the audience, we the responders, to undertake the journey. As the text moves along, we are subject to the recount of Prospero’s banishment as Prospero introduces his past to his daughter, Miranda. In commencing his recount, Shakespeare purposely denotes that Prospero is no longer the man of power, of dignity and pride that he once was by having Prospero refer to himself as Miranda’s father rather than ‘I’. “The father was the Duke of Milan, and A prince of power-“ Prospero’s short and emotionless lines confronts us and pushes us to imagine and feel his pain and suffering. In continuing his tale of misfortune and malevolence Shakespeare employs emotive words and evocative imagery, persuading the audience to, together with Prospero, embark on an imaginative journey. “…..one midnight, Fated to the purpose did Antonio open The gates of Milan, and I’ th’ dead of darkness ….. Hurried thence Me and thy crying self.” -Act 1 Scene 2 Lines 128-132 The lack of punctuation, the symbolic referral to death and darkness sharpened with alliteration noticeably convey the dread and pain which swells up within Prospero. This dramatic and extensive use of language features personifies the emotions Shakespeare is attempting to convey, giving us, responders, the detail and atmosphere to concisely follow the imaginative journey through time, with Prospero. “The Road Not Taken” whilst being a poem, in addition also appropriately utilises various language features to propel the audience into the imaginative journey. While each language feature may differ, the purpose of the composers, Shakespeare and Robert Frost remains, identical. Robert Frost employs language features which are actually constant throughout the duration of the poem. His indecisive nature of the imaginative journey is sustained with the use of an ambiguous tone maintained from start to finish. “I shall be telling this with a sigh…… And that has made all the difference.” -Stanza 5 Lines 1 and 5 The ambiguous use of the onomatopoeia does not attempt to specify whether the choice he has made is one of benefit or detriment. This may be perceived as an open ended closure of the poem which subsequently challenges us responders to infer what suitable ending we deem proper. This actively involves us with the poem, therefore carrying us into the world of one’s imagination. Besides carrying us through the poem, words here and there pop up and drive forward the imaginative quality of “The Road Not Taken”. Low modality words also reinforce the cynical nature of the text, as from the previous extract, reflecting its lazy, indecisive and irresolute manner. Low modal words lack emotion or any vocal force creating a slow and plodding pace to the text. As responders, this aspect of the poem further requires use of the imagination, due to lacking expression and portrayal of the situation, to fully grasp the concept, thus becoming a catalyst for entering and becoming lost in the world of our imagination. And so both composers greatly explore the idea of imaginative journeys in their texts, prodding and probing our fragile and easily influenced minds. Both “The Tempest” and “The Road Not Taken” composed respectively by the profound William Shakespeare and the entrancing Robert Frost, both act as brilliant vehicles for our imagination, making use of all aspects of literature available. Shakespeare uses his contextual reference more effectively, yet Robert Frost’s subtle variation in language features is just as efficient. The composers employ means of enticing and encouraging a response from us, the audience and therefore drag us into the imaginative world, snaring our mind within the confines of the text, closing off the responder from reality. This is the essence of an imaginative journey, and as long as there are texts, and as long as there will be someone to read it, then the imaginative world will infinitely be accessible to us.