To call Ted Hughes (1930-1998) a nature poet, should not be considered pejorative. It simply means that nature is a frequent subject in his poetry. However, while a great many of his predecessors expressed nature as the idyllic, romantic, and peaceful opposite of a denatured and technological world, Hughes highlighted the darker and more realistic aspects of nature by putting its murderousness in the foreground.
Thus, the recognition of violence and aggression in nature became one of Hughes’ dominant themes in numerous of his poems. Yet, looking at his work, we can state a significant change when it comes to describing nature. With Terry Gifford’s analysis of Hughes’s poetry in mind, two different concepts of nature can be traced which may be called ‘anti-pastoral’ and ‘post-pastoral’ (Gifford 1994: 131pp). While a lot of his early works reveal a militant opposition to any Arcadian descriptions of nature, Hughes later on creates his post-pastoral poetry in which he reconnects ‘our own natural energies with those at work in the external natural world’ (Gifford 1994: 129). Such classification of poetry as suggested by Gifford should not be an end in itself; instead, it ought to be relevant to all contemporary readers who take an interest in clarifying for themselves ‘which writing is likely to raise the most useful questions for our time’ (Gifford 2012: 69).
In the following, I will devote myself to Terry Gifford’s classification of Ted Hughes’s poetry and illustrate whether or not it can be regarded as appropriate when it comes to the poet’s concept of nature. In order not to remain in pure theory, I will concentrate on Hughes’ poems Hawk Roosting and February 17th which can be referred to as palpable examples either of Hughes’ anti-pastoral or post-pastoral reference to nature. For a better understanding, I will initially define the terms ‘anti-pastoral’ and ‘post-pastoral’ as used and understood by Gifford, before I will prove them in the concepts in Hawk Roosting and February 17th by also clarifying the different effect that Hughes’ approaches to nature necessarily have on the reader. At the end, I will come to a conclusion in which I briefly state the results of my investigation.
Table of Contents
Introduction
Definitions of terms and concepts
The anti-pastoral concept of nature in Hawk Roosting
The post-pastoral concept of nature in February 17th
Conclusions
The poems
Hawk Roosting
February 17th
Research Objective and Core Themes
This work examines Ted Hughes' approach to nature through the analytical framework of Terry Gifford, specifically investigating the transition from anti-pastoral to post-pastoral concepts in his poetry, using the poems Hawk Roosting and February 17th as primary case studies.
- Analysis of the anti-pastoral critique of romanticized nature.
- Evaluation of the post-pastoral model as a dynamic, interactive relationship between humans and the natural world.
- Detailed comparative study of Hawk Roosting as an anti-pastoral text.
- Investigation of February 17th as a post-pastoral representation of human-animal struggle.
- Discussion of the ethical and philosophical implications of Hughes' depictions for contemporary readers.
Excerpt from the Book
The anti-pastoral concept of nature in Hawk Roosting
According to Terry Gifford, Ted Hughes’ anti-pastoral concept of nature is rather obvious in his earlier animal poems such as Hawk Roosting published in 1960 in his collection Lupercal (Gifford 1994: 133). To illustrate that, it has to be asked which anti-pastoral aspects Hughes utilises in this poem and which effect such presentation of nature is likely to have on the audience.
In the previous chapter, anti-pastoral concepts are defined as unidealised depiction of nature as a sphere of tensions, disorder, and inequalities where merely the fittest can survive (Gifford 2012: 60). And indeed, Ted Hughes uses deeply realistic images in order to represent nature as an environment of pessimistic realism and brutality. The cold and unvarnished language violates any pastoral concept of natural harmony. Nature appears to consist only of predators and prey and apparently repeats nothing more than this permanent and unsettling subdivision into hunter and hunted (L-24). The poem is written in 1st person to create the impression as if the hawk were speaking. His tone of voice is arrogant, proud, boastful, self-confident and shows that he considers himself the best of creation (L-10). His whole existence solely revolves around hunting and killing (L-16).
Summary of Chapters
Introduction: Provides the theoretical grounding by introducing Terry Gifford’s classification of Hughes’ poetry into anti-pastoral and post-pastoral categories.
Definitions of terms and concepts: Explains the terminology of pastoral, anti-pastoral, and post-pastoral, setting the critical foundation for the literary analysis.
The anti-pastoral concept of nature in Hawk Roosting: Analyzes the poem as a manifestation of anti-pastoral thought, focusing on its brutal, realistic, and predator-focused view of the natural world.
The post-pastoral concept of nature in February 17th: Examines the shift in Hughes' later work, illustrating how the poem reflects a more interactive, complex, and responsible human connection to nature.
Conclusions: Synthesizes the findings, confirming that Gifford’s framework effectively clarifies Hughes’ evolving relationship with nature and its impact on the reader.
The poems: Presents the original texts of Hawk Roosting and February 17th.
Keywords
Ted Hughes, Hawk Roosting, February 17th, anti-pastoral, post-pastoral, Terry Gifford, nature poetry, environmental literature, predator and prey, pastoral, human-nature relationship, literary analysis, ecological responsibility, survival of the fittest, brutal realism.
Frequently Asked Questions
What is the primary focus of this academic work?
The work focuses on interpreting Ted Hughes' poetry through Terry Gifford’s literary concepts, exploring how the poet moves from an anti-pastoral to a post-pastoral depiction of nature.
Which theoretical framework is utilized?
The study relies heavily on the critical classifications of Terry Gifford, who distinguishes between the idealised 'pastoral', the harsh 'anti-pastoral', and the interconnected 'post-pastoral' modes of writing.
What is the central research question?
The central question is whether Gifford’s classification system is appropriate and useful for understanding Hughes' concepts of nature, and how these different approaches affect the reader's perception.
Which specific poems are analyzed in this study?
The study centers on the analysis of Hawk Roosting to represent anti-pastoral themes and February 17th to represent post-pastoral themes.
What does the anti-pastoral approach entail in this context?
The anti-pastoral approach is characterized by a "gritty realism" that depicts nature as a brutal environment of disorder and violence, stripping away romantic illusions.
How is the term post-pastoral defined here?
It refers to a more complex perspective where outer processes in nature reflect inner human processes, suggesting an interconnected, interactive whole between humans and the environment.
What does the lamb's birth in "February 17th" symbolize?
It symbolizes the tragic and messy reality of nature, where life and death are intertwined, and highlights the human struggle and responsibility in managing natural processes.
How does the hawk function as a metaphor in the analysis?
The hawk serves as a mirror for human beings, revealing the darker, animalistic side of the human psyche that persists despite claims of civilized sophistication.
- Citation du texte
- Dominik Jesse (Auteur), 2014, Concepts of Nature in Ted Hughes’ poems "Hawk Roosting" and "February 17th", Munich, GRIN Verlag, https://www.grin.com/document/294748
