Harwood's Prize Giving

Changing Perspectives in Prize-Giving Gwen Harwood craftily constructs the character of Eisenbart (German for Greybeard – a noted nuclear physicist) to illustrate the contrast between a narrow mature rational scientific mind with a juniorer precocious genius combining both reason and passion. The senior(a) man is depicted as vain, arrogant, pretentious and dull, stuffy, detain in an insular parochial stable and smug arena small-arm the lateer girl combines both technical accomplishment and passion. Eisenbart comes crosswise as rude and superior by reluctantly deigning to mention the Assembly to primarily to flaunt his superiority. Even his feature and self-respect is qualified as an “unspecified kind”. done talented use of structural irony, a fluctuating forest and impalpable use of colour and images, Harwood abrasively undercuts Eisenbart’s pomposity and he is do to see himself as the fool he is. despite his adroit supremacy a nd the initial adulation, when confronted by true skillful winded talent of a young precocious Mozart (whose practice of treat has power over the mind and passion) played by a vibrant passionate adolescent, he suffers a reversal and abruptly sees the emptiness of his vaunted pride. He finds himself “a fool trapped by music in a copper net of hairs-breadth” Harwood’s ironic use of tone lulls the reader into a false sense of well being as Eisenbart creates a stir on his arrival, but soon his affectations; his posing of Rodin’s The Thinker is pierced by the mimicry of a young girl with titian hair. The passion of her electric handshake jolts the subconscious, stirring complex, dormant, clumsy urges of sexual fantasy, his “rose-hot dream”. The unifying motif of hands, from Rodin’s, Eisenbart’s alter pose to the arrogant hands of the girl’s contention of Mozart, completes the circle of pride going before the fal l. Her arrogance is show up on genuine perf! ormance, while his is...If you want to get a full essay, order it on our website: BestEssayCheap.com

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