Forrest-Thomsons usage of a post-modern manner of lampoon, contradictory and revolutionist of convention, subverts the literary reverberations of the past to make a new, advanced manner of imagination. The allusion to Donne ‘s ”unruly sunne ” , ”Never so separate seeking to be two / And the busy old sap is right ” invokes a canonical image of authoritative timeless familiarity. Donne ‘s excessive fustian is short punctured as Sonnet states that its two Subjects are such complete antonyms that they ”Distinguish [ es ] twenty-four hours from dark ” . ; Donne ‘s original claim for the lover ‘s stability and centrality is overwritten by an averment of their isolation. And therefore we have a lampoon between Sonnet ‘s grieving Subject and the ‘unruly sunne ” ‘s lover ‘s eternity. It has been said that Forrest-Thomson uses ”clever external mentions excessively much ” , doing her poesy ”wearisome ” . Read goes farther, proposing that there is ”a swoon and uncomfortable sense of holding been mocked ” for non being Forrest-Thomson ‘s ideal, about almighty reader. Indeed, if the reader does non recognize the mention to Donne they can still understand the verse form, yet merely to a lesser grade. By neglecting to appreciate the contrast with Sonnet ‘s heartache stricken subkect portion of the verse form is lost. The combination of lampoon and allusion requires tact and control. However, in Sonnet it is all excessively plausible that the ignorant reader may feel that an external mention is being made – the line indicates an battle with another sentiment – and that a reading of Sonnet could be dominated by holding one ‘s ignorance highlighted. Forrest-Thomson ‘s allusion runs the hazard of suppressing a reading of the verse form as a whole and therefore potentially mains Sonnet by making the perceptual experience of an unaccessible and nonmeaningful verse form. Yet, the function of lampoon in Sonnet has a 2nd degree to it: it is non merely the ”sunne rise ” that is being subverted here but an full work. Donne ‘s metaphysics of love are rejected by a sardonic ballot for the boisterous sunne in a kind of metonymy of allusion, that ‘the busy old sap is right ‘ suggests that the Sun was right to disrupt Donne ‘s lovers warm embracing and to exemplify their isolation. The grade of her poetic success to my head, is that it efficaciously harnesses the resonance of ‘unruly sunne ‘ and utilizes its associations to make a more sophisticated significance. It absorbs and undermines the literary weight, intensions and emotional charge of Donne ‘s verse form, and in the procedure of absorbing ‘the busy old sap ‘ it absorbs the reader, steeping and intriguing him, transporting him to the ”separate planet ” of poesy. The foreground processing and important function of the external mention can be found to be riotous to a reading of Sonnet, yet I find that corruption of the allusion has a more of import function in that it makes Sonnet verse form. Parody, in Bahktin footings, is ”double sonant ” ; the elements being juxtaposed remain separate entities in their ain right and in their ain literary domains. However, the consequence of the lampoon is a synthesis of the elements involved, making a new superimposed metaphor. There is a reclamation of poesy through synthesis ; the elements re absorbed by the verse form and become aspects of anew, fresh poetic entity. This new entity, the combination of emotional charges and semantic significance through lampoon expresses the sense of emptiness depression creates, which can frequently experience inarticulable.
Forrest-Thomson ‘s work lies on the fringe between a modernist and post-modernist ontology: she proposes that there is a individual domain of real property ( a modernist rule ) which is divided into the existent universe of experience and the poetic universe ( a postmodern rule ) . She evades premature reading and foregrounds ”uncertainty about the relationship between poet, reader, linguistic communication and universe ” because she was peculiarly concerned with the debatable relationship between word and universe. She manipulates linguistic communication to make a defamiliarsing consequence. The broken sentence structure mimes the crevice between the kingdom of experience and the poetic kingdom in that it is non familiar or common, and therefore belongs more to the poetic universe than the experiential. The defamiliarising consequence creates suspended naturalization. iN a modernist manner the dominant of her poesy is epistemic. Therefore, if Conciousness is accepted as being constituted in linguistic communication, so to transform the linguistic communication is to transform Consiousess. By exporting the reader to a ”separate planet ” she enables them to comprehend the universe of experience through the abstract lens system of the poetic universe. The trouble for Sonnet arises in that Forrest-Thomson conforims Robinson ‘s position of Sonnet as ”hopeless ” : ”Sonnet is the love verse form I have tried I have tried throughout to compose consecutive ” with a subject o ”the inquiry for another human being ” ; yet, she continues, and of class, being caught as poetic fiction, as a existent individual, he [ her human being ] is gone. ” Sonnet concludes, ‘so accept the want for the de my beloved. / Wordss were made to forestall us near. ‘ If we do non accept the want for the title it is because our attitudes of world an linguistic communication seem incompatible wit the wish itself. The terminal stopped lines seem to drive a cuneus through the pair, making a great disparity between what we hope for and world. Yet, I think this serves to exemplify the unfortunate depression and deficiency of belief Forrest-Thomson had in her work. Life can non be to the full reaptured in poesy ; but I o non believe that this qualifies Sonnet as an destitute or failed verse form. The topic of which Forrest-Thomson writes can nenver be genuinely imported into poesy. The poetic procedure, composing and reading, wholly changes the capable Forrest-Thomson wants to truly animate because as it is transfigured into poetyand interpreted by the reader the building of the capable moves him from the word of the poet ‘s experience into the universe of poesy. By building the topic into a piece of poesy he is constructed into a signifier which is so mentally animated bt the readwer with their ain reading, ideas, feelings and experiential luggage. In the terminal, this is the paradox Sonnet ‘s success is based on: ‘the poet msy destroy or contradict what it seeks