Analysis of Thus It Seems Separated Off by D.H. Lawrence

Analysis of Thus It Seems Separated Off by D.H. Lawrence

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Analysis of Thus It Seems Separated Off by D.H. Lawrence

In this essay, we have been asked to evaluate a piece of text ('Thus
it seems…separated off'.) written by D.H. Lawrence from his short
satirical story, 'The Man Who Loved Islands'. We have been requested
to concentrate on six individual areas, and focus them into one large
evaluation.

Lawrence begins the text by ensuring that the reader understands that
he is trying to involve them in the piece - by using the word 'our'.
This makes the reader feel as if the story means much more to them,
because they are actually 'involved' in it, and not just reading it.
Lawrence continues on to describe the features of the island: he
begins by using the very assonant 'ways and glades', which expresses
the congeniality of the islet. He describes the 'ways and glades' as
'a snow of blackthorn' - a blackthorn is a thorny shrub which produces
white flowers, which Lawrence describes using the metaphor of snow.
After, Lawrence quickly moves forward in time - 'after the
blackthorns…' and describes the lakes as 'elfin', which expresses a
magical feels to the isle, and reinforces the point of how excellent
the islander feels it is. Lawrence mainly uses adjectives to describe
the island's features - 'elfin lakes' and 'slipping sheets of blue',
which is also alliteration. Lawrence then continues to begin a
sentence with an 'And', which is not grammatically correct - this
might have been done because the sentence before it is very long, and
Lawrence might have wanted the sentence beginning with 'And' to carry
straight on, but as the sentence is long, he would have had to
separate it somehow, so the 'And' is showing us that the sentence is
supposed to continue straight on, but had to be separated from a
readers point of view. The sentences in this paragraph begin quite
short, but at the end, the description takes over and the sentences
become much longer. The mood in this paragraph is basically contented,
as Lawrence is explaining how immense this particular island is

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supposed to be, so he portrays a blissful frame of mind to the reader.
Therefore, the atmosphere is pleasant also. I can't find any examples
of this paragraph being rhythmic.

In the second paragraph, Lawrence quickly switches from spring to
summer, and uses the assonant alliteration 'faintly fragrant' to
describe the scent of roses gently being carried under the breath of
the summer breeze, which gives us a sense of mellowness. Again he
appeals to the reader, by using the word 'you' in many places, which
again involves the reader more fully in the story. Lawrence then uses
the pathetic fallacy of 'ripening oats' - possibly to explain that the
islet is covered in crops that are gradually maturing. He then uses
another assonant alliteration of 'sea fading…foghorn', and also uses
the onomatopoeic description of the foghorn 'mooing' to add further
reader involvement to his piece. He then swiftly moves on to autumn,
and briefly begins describing the characteristics of the season before
the paragraph ends. The mood is generally quite warm - because it is
summer, but at times the atmosphere is a little eerie - 'in a little
cove, the shadows were in the rocks'. Again, Lawrence mainly uses
adjectives to describe the seasons as in the first paragraph, and
again uses quite long sentences for description over short snappy ones
for emphasis on particular points. I can't see any rhythm in this
paragraph either.

In the third paragraph, Lawrence again rapidly continues to talk about
winter without much dwelling on autumn. He explains the nastiness of
winter's weather, using descriptive metaphors like, 'dark skies,
dampness and rain'. Yet again, he makes the reader feel involved by
using the phrase 'your island'. He uses the simile of 'coiled like a
wet dog' to inform the reader of the damp spirit of the island in
winter - he is personifying the island here, to be able to compare the
weather conditions to a spirit, which Islands don't have because they
are not real. Furthermore, Lawrence adds even more additional
information about the conditions to deepen his description of the
atmosphere: he compares the island not to a utopia like he could have
done in summer, but to a sort of hell - 'a dark place where souls
live'. We can therefore conclude that the weather in winter is far
worse than that of summer! The mood in this paragraph is very dark and
miserable, and the tone changes to a very bitter one. There are only
three sentences in this paragraph - two are short and direct to the
point for emphasis, when the other is very long, laying on the
description as a painter would do on a canvas. Yet again, he mainly
uses adjectives to describe the weather - 'the wind left off blowing
in great gusts and volleys'.

In the final paragraph, Lawrence is definitely addressing the reader,
as he only uses 'you' and 'your' to address. He again compares the
islet to a kind of hell where souls live, so he must still be dwelling
on winter. He also describes the island as 'a nothingness', which
explains to us again how damp and dark the conditions must be.

It is interesting that Lawrence has managed to cover the events of a
whole year in just 33 lines - this is probably Lawrence's way of
explaining to the reader how quickly the time has passed on the isle -
or how fast the time would seem to have passed on the island to the
islander. I don't think that the lengths of sentences are particularly
consistent, as Lawrence uses a mixture of short and long sentences in
this brief chunk of text. The mood changes in accordance to which
season he is describing - i.e. a bright happy mood for summer, a dull,
dark one for winter, as does the atmosphere. Throughout the piece,
Lawrence mainly uses adjectives to describe the weather and objects on
the island. I can't however, find any examples of the text being
rhythmic, from a rhyme scheme to a rhythm of whatever he is
describing. He is mostly addressing the reader - mostly using 'you
went home', and 'your islander', but sometimes he reverts back to
'the'.
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