Hello, I am submitting this for some feedback, I want to improse my imaginative journeys as much as possible, so if you could get back to me, or reply to this post - that'd be ace. thanks x
Any journey, whether it be realistic or imagined includes both the reality and possibilities for the individual. Indicating the reality of a journey is the outcome, or the change in the individual, influenced by the journey. The extent of the individual’s possibilities and creativity of the imaginative mind can be explored in many art forms. Two lyrical poems “This Lime Tree Bower – My Prison” (“LTB”) and “The Rime of the Ancient Mariner” (“ROTAM”) by Samuel Taylor Coleridge were written in the 18th century embark upon imaginative journeys, with endless possibilities indicated through the descriptive language, symbolism and strong visual imagery; ultimately conveying a strong change in self. The idea of pantheism; the interconnection between God, nature and Man is explored, giving note to the spiritual context of the era. I Margaret Atwood’s monologue style written poem “Journey To The Interior” she explores the possibilities of her mind, and being trapped within, in which she compares to being lost in a physical landscape. Through metaphoric language and descriptive language, both the imaginative journey and the reality of the situation, being lack of inspiration, is conveyed. Exploring a field of childlike imagination and possibilities is the play “Alice’s Dream” written and direction by Marisa McEwan in 2004, and performed in September 2004. Through costume, lighting and musical technique, Alice Liddell’s imaginative dream-scape journey and surrounding environment are conveyed, which alludes to the reality of a change-in-self. The composition titled “Sweet Lullaby” from the New Age band “Deep Forest” explores a scope of imagination and limitless possibilities through musical devices such as repetition and structure. A change in self made evident by the diversity and ability of music instruments and devices points to the reality of the situation, due to the extent and possibility of imagination. These texts validate each other. They support the thesis that “any journey includes both realities and possibilities” through exploring the depth of imagination and coming to terms with a change in self, each indicated by the specific art forms unique technique.
Samuel Taylor Coleridge wrote the engaging 626 lined poem “ROTAM” hoping to leave an impression of a lyrical ballad and a hint of supernaturalism to contributing to the growing ‘trends’ of the Romanticism era. Coleridge’s imaginative and possibility inspired writing fits the context of the reality of the 18th century, being the exploration of mythical superstitions and spirituality. “ROTAM” follows an Old Mariner and his crew across the ocean through speculation, imagination and perspective from the Old Mainer. The use of symbols, structure and descriptive language convey the imaginative journey and its possibilities, ultimately indicating the reality of the situation. The cyclic nature and physical placement of the Mariner in the poem is important because it highlights the reality of the scene. The poem opens with “The bridegrooms doors are opened wide” and closes in the same prospect; “What loud uproar bursts from that door, the wedding guests are there”. Also, the Christian connotations highlight a domination culture of belief among people throughout the 18th century. Descriptive language and strong visual imagery” with sloping masts and dipping prow” extend the imaginative factor and also give the audience a sense of surroundings. The supernatural theme is explored, which highlights the spiritual reality and context of the era, being suspicion and superstition. The possibilities of this are explored when a ghost ship emerges; “A sail, a sail! […] ribs through which the sun did peer as through a grate”. This metaphoric language holds connotations of gaol and danger, creating a feeling of imprisonment and fear – reflecting the attitude of public in the 18th century towards such ‘taboo’. The sensuous imagery donates beauty to this subject. Involving the audience Coleridge emotionally places the audience into perspective of the Old Mariner; “all alone, all alone”. The repetition emphasizes his loneliness, forcing the audience to empathize, thus become emotionally engaged in the imaginative possibilities of the journey. A change in prose indicates a change in self of the Old Mariner. His perspective of the water snakes was once “Slimy things that did crawl with legs” but now feels “O, happy living thing! A sudden rush of love gushed from my heart”. This act of pantheism, internally connecting God, man and nature represents his changed self – promoting the spiritual context and reality of the era. A hermit is introduced into the poem as a religious man “he kneels morn, noon and eve”. The innocence and dedication of the hermit contrasts to the Old Mariner, placing emphasis on his hellish journey. Words like “peace” and “afloat” excel the Mariners joy and happiness since leaving the ship – highlighting the reality of the outcome. Extending onto this, the Old Mariner leaves a didactic message; “loveth all creatures great and small”, influences by his change-in-self.
Like in “ROTAM”, Coleridge’s other poem “LTB” explores the possibilities of the imagination, addressing pantheism and similar language techniques which ultimately indicates a change in self, alluding to the reality of the situation. In “LTB” Coleridge overcomes physical barriers and explores the power of his mind. Coleridge embarks on an imaginative journey (in first person) because he has been left on his own, due to a physical injury, and cannot partake in a walk with his friends. The poem opens with; “Well, they are gone and here I must remain, this Lime Tree Bower, my prison”. This captures his first impression/attitude to the reality of the situation. It also engages the audience as it is conversational and captivating, and also addresses where his journey will sprout from. Coleridge recognizes only the sufferance of nature, a similar attitude as in “ROTAM”, and describes the nature as “unsunn’d and damp, whose few poor leaves ne’re tremble in the gale, yet tremble still”. Coleridge has stayed put within the reality of the scene, dwelling with self pity. He has not yet explored the possibilities of the power of the imagination. As Coleridge ponders his friends’ journey; “that still roaring dell…” a changed attitude is recognized, through the change in prose; “A most fantastic sight!” with the exclamation mark accentuation this idea. An interconnection between God and Nature, describing the hills as “many steepl’d hills” represents pantheism: indicating Coleridge’s expansion of possibility – to transcend space. Strong visual imagery; “Ye purple heath flowers […] Live in yellow light […] kindle thou Blue ocean” give note to Coleridge’s contrasting emotions and also donate vibrancy to the poem. Religious connotations follow; “Such veils of Hue the Almighty Spirit, when yet he makes spirits perceive his presence”. This conveys the spirit of God in Nature and its descriptive and visual imagery is at the peak of possibilities. The audience and Coleridge are taken out of the imagined scene and back into reality; “A delight comes sudden on my heart and I am glad, as I myself were there!”, captures his joy and outcome due to the undertaken possibilities. Words from the first stanza like “few”, “damp” and “poor” and also previous, negative surroundings which mimicked entrapment, to “Pale beneath the blaze, hung in transparent foliage” represent Coleridge’s new found appreciation. The water snakes in “ROTAM” contributed to representing Coleridge’s change-self. The Rook in “LTB”; “The last Rook Beat its straight path along the dusky air homewards, I Blest it!” makes an interconnection between Nature and Man, thus directing a sense that possibility is available in every plot and is capable of awakening a sense of “Love and Beauty” – being the reality of the situation due to the extent of possibility explored.
In Margaret Atwood’s monologue style written poem “Journey to the Interior” she speculates about being lost in her mind, in which she metaphorically and descriptively compares with a geographical, metaphysical environment – demonstrating the harshness and wilderness the mind can undertake. Similar to Coleridge’s concept, Atwood’s imaginative journey uses nature and fauna to ultimately depict the reality and outcome. Atwood faces the difficulty of a mental block, in which she metaphorically describes as “hills which eyes makes flat as a wall”; this expresses her mind blank/lack of inspiration in terms of a geographical plane. This is the reality of the situation. Further exploring the possibilities of a mental block/lack of inspiration, Atwood delves into constant metaphoric language; “endless as prairies”, describing the unlimited possibilities and depth of intellect her mind can take. Atwood continues to use the power and possibilities of language, and further educates her audience, speculating on her own experiences, that traveling for inspiration or further possibility can be “roots in swamps” and “net of air” indicating the wilderness and that it is not always a positive outcome. Being a contemporary composer, Atwood addresses the current context and suggests mental health issues. Metaphorically writing “tangle of branches” alludes to the untamed power of the mind, suggestive of depression. The colour references of “alternate light and dark” gives not to her changing emotions, as a victim of depression, or for falling too deep into possibilities of the mind. Due to exploring the opportunity, it is evident Atwood has stepped out of the journey, by binging herself back to the reality of domestic appliances; “paring knife” and “brambles under the chair”, she knows she must “keep her head” in the reality of the journey and circumstances.
Similar to Atwood’s journey and search for inspiration and possibility, is the New Age bands’ “Deep Forests’” composition titled “Sweet Lullaby”. Through specific musical devices such as structure and repetition, the thesis that “any journey includes both possibilities and realities” is explored. The audience is drawn into the imaginative journey of a woman, like in Atwood’s “Journey to the Interior” and through the captivating and suggestive tonalities of sound and the way the piece is structured, possibilities and a field of imagination is explored. The musical item begins with a synthesized keyboard, being the main source of sound and melody heard which highlights the reality, for no possibilities have yet been explored. Extending this idea, the repetition of the riff will always refer back to the nature of the journey, triggering the audience’s belief that they are being taken on an imaginative journey. In the second verse of the song, the possibility of the power of music is explored. A soulful woman’s voice is heard, layered with drums, creating a “heart-beat” effect, symbolizing that the woman is striving with her life to connect with herself and her search – A motif. Amplifying this woman’s search and extent of possibility, 32 moderately fast bars play the same layers of music. The reality of the situation is released when unity is achieved, with a climax, indicating that the woman has found her inspiration/answer; all instruments/sound sources become complex and play in sync – drums, synthesized keyboard and woman’s voice. Following the climatic response, the main melody played by the synthesized keyboard is no longer heard and no layer refers to the search, for it is the ending and what is found that is significant – the reality and the outcome. Only drums, with the connotations of a heart-beat is played, finalizing the idea that the woman has found her inspiration, and now the reality is that she only needs the organic heart-beat that life provides, to move on.
Questioning identity and roles has been a universal subject reflected through the up-rising existentialists. “Alice’s Dream” written and directed by Marisa McEwan in 2004 and performed in September 2004, foregrounds this idea of self-questioning and search for identity, represented by Alice Liddell. Alice’s main conflict is finding her way to becoming an adult. Theatrical conventions such as lighting, costume and musical devices creates the imaginative quest of Liddell and explores a field of possibility, ultimately alluding to the reality – being a change in self. Reminiscent of the traditional children’s story book “Alice in Wonderland” written by Lewis Carroll, Alice falls down the rabbit hole which enters her body into an imagined environment. In “Alice’s Dream” McEwan highlights this moment through change in lighting and the emergence of off-the-wall, wild characters, accentuated through their visual representation of costume and physical bodily movements, opposite to Alice’s. The imagined characters have a white based costume with bright, wacky props added on, such as sequined vests, to differentiate themselves from Alice, who wears a blue tulle skirt and white top, which hold’s connotations of the traditional “Alice”. The physical movements of the imagined characters explore the possibilities to a grotesque and commedia Dell arte extent, which are opposite to reality, highlighting an unrealistic, imagined field. Distinguishing an imaginative environment, contrast between reality and non-reality are explored through the possibilities of music. A rhythm created through a drum beat is symbolic of order and organization, contrasting to the out of time, disorientated clashes of tambourines and drums throughout Alice’s imagined journey. Alice faces many challenges throughout her journey, which ultimately add up to indicate a change in self. Shown in the “Pool Of tears” scene in “Alice’s Dream” McEwan emphasizes the moment using symbolism. Blue streamers are cast around Alice to emphasize her sadness and the blue lights are used to accentuate her mood of sadness. The theatrical techniques explore the endless possibilities of conveying Alice’s search for her identity. Shown through the majestic music and all characters physical movement from unrealistic postures to realistic, the audience are taken out of the imaginative environment and back to reality. Alice’s final statement “I found another door to me” indicates she has found another element within herself, which she can adapt to the reality of the world around her, all influenced by the courage within herself to explore the possibilities of imagination, which was conveyed through theatrical conventions.
Through the study of Coleridge’s two poems “ROTAM” and “LTB”, Atwood’s “Journey to the Interior”, the composition “Sweet Lullaby” and McEwan’s “Alice’s Dream”, the thesis that “All journeys include both realities and possibilities” is expressed, A change in self being, the reality and consequence due to the courage to undertake the possibilities of imagination, occurs. The convention of each art form contributes to demonstrating both the possibilities, realities, self-discoveries and consequences.
“Any Journey includes both realities and possibilities”
Any journey, whether it be realistic or imagined includes both the reality and possibilities for the individual. Indicating the reality of a journey is the outcome, or the change in the individual, influenced by the journey. The extent of the individual’s possibilities and creativity of the imaginative mind can be explored in many art forms. Two lyrical poems “This Lime Tree Bower – My Prison” (“LTB”) and “The Rime of the Ancient Mariner” (“ROTAM”) by Samuel Taylor Coleridge were written in the 18th century embark upon imaginative journeys, with endless possibilities indicated through the descriptive language, symbolism and strong visual imagery; ultimately conveying a strong change in self. The idea of pantheism; the interconnection between God, nature and Man is explored, giving note to the spiritual context of the era. I Margaret Atwood’s monologue style written poem “Journey To The Interior” she explores the possibilities of her mind, and being trapped within, in which she compares to being lost in a physical landscape. Through metaphoric language and descriptive language, both the imaginative journey and the reality of the situation, being lack of inspiration, is conveyed. Exploring a field of childlike imagination and possibilities is the play “Alice’s Dream” written and direction by Marisa McEwan in 2004, and performed in September 2004. Through costume, lighting and musical technique, Alice Liddell’s imaginative dream-scape journey and surrounding environment are conveyed, which alludes to the reality of a change-in-self. The composition titled “Sweet Lullaby” from the New Age band “Deep Forest” explores a scope of imagination and limitless possibilities through musical devices such as repetition and structure. A change in self made evident by the diversity and ability of music instruments and devices points to the reality of the situation, due to the extent and possibility of imagination. These texts validate each other. They support the thesis that “any journey includes both realities and possibilities” through exploring the depth of imagination and coming to terms with a change in self, each indicated by the specific art forms unique technique.
Samuel Taylor Coleridge wrote the engaging 626 lined poem “ROTAM” hoping to leave an impression of a lyrical ballad and a hint of supernaturalism to contributing to the growing ‘trends’ of the Romanticism era. Coleridge’s imaginative and possibility inspired writing fits the context of the reality of the 18th century, being the exploration of mythical superstitions and spirituality. “ROTAM” follows an Old Mariner and his crew across the ocean through speculation, imagination and perspective from the Old Mainer. The use of symbols, structure and descriptive language convey the imaginative journey and its possibilities, ultimately indicating the reality of the situation. The cyclic nature and physical placement of the Mariner in the poem is important because it highlights the reality of the scene. The poem opens with “The bridegrooms doors are opened wide” and closes in the same prospect; “What loud uproar bursts from that door, the wedding guests are there”. Also, the Christian connotations highlight a domination culture of belief among people throughout the 18th century. Descriptive language and strong visual imagery” with sloping masts and dipping prow” extend the imaginative factor and also give the audience a sense of surroundings. The supernatural theme is explored, which highlights the spiritual reality and context of the era, being suspicion and superstition. The possibilities of this are explored when a ghost ship emerges; “A sail, a sail! […] ribs through which the sun did peer as through a grate”. This metaphoric language holds connotations of gaol and danger, creating a feeling of imprisonment and fear – reflecting the attitude of public in the 18th century towards such ‘taboo’. The sensuous imagery donates beauty to this subject. Involving the audience Coleridge emotionally places the audience into perspective of the Old Mariner; “all alone, all alone”. The repetition emphasizes his loneliness, forcing the audience to empathize, thus become emotionally engaged in the imaginative possibilities of the journey. A change in prose indicates a change in self of the Old Mariner. His perspective of the water snakes was once “Slimy things that did crawl with legs” but now feels “O, happy living thing! A sudden rush of love gushed from my heart”. This act of pantheism, internally connecting God, man and nature represents his changed self – promoting the spiritual context and reality of the era. A hermit is introduced into the poem as a religious man “he kneels morn, noon and eve”. The innocence and dedication of the hermit contrasts to the Old Mariner, placing emphasis on his hellish journey. Words like “peace” and “afloat” excel the Mariners joy and happiness since leaving the ship – highlighting the reality of the outcome. Extending onto this, the Old Mariner leaves a didactic message; “loveth all creatures great and small”, influences by his change-in-self.
Like in “ROTAM”, Coleridge’s other poem “LTB” explores the possibilities of the imagination, addressing pantheism and similar language techniques which ultimately indicates a change in self, alluding to the reality of the situation. In “LTB” Coleridge overcomes physical barriers and explores the power of his mind. Coleridge embarks on an imaginative journey (in first person) because he has been left on his own, due to a physical injury, and cannot partake in a walk with his friends. The poem opens with; “Well, they are gone and here I must remain, this Lime Tree Bower, my prison”. This captures his first impression/attitude to the reality of the situation. It also engages the audience as it is conversational and captivating, and also addresses where his journey will sprout from. Coleridge recognizes only the sufferance of nature, a similar attitude as in “ROTAM”, and describes the nature as “unsunn’d and damp, whose few poor leaves ne’re tremble in the gale, yet tremble still”. Coleridge has stayed put within the reality of the scene, dwelling with self pity. He has not yet explored the possibilities of the power of the imagination. As Coleridge ponders his friends’ journey; “that still roaring dell…” a changed attitude is recognized, through the change in prose; “A most fantastic sight!” with the exclamation mark accentuation this idea. An interconnection between God and Nature, describing the hills as “many steepl’d hills” represents pantheism: indicating Coleridge’s expansion of possibility – to transcend space. Strong visual imagery; “Ye purple heath flowers […] Live in yellow light […] kindle thou Blue ocean” give note to Coleridge’s contrasting emotions and also donate vibrancy to the poem. Religious connotations follow; “Such veils of Hue the Almighty Spirit, when yet he makes spirits perceive his presence”. This conveys the spirit of God in Nature and its descriptive and visual imagery is at the peak of possibilities. The audience and Coleridge are taken out of the imagined scene and back into reality; “A delight comes sudden on my heart and I am glad, as I myself were there!”, captures his joy and outcome due to the undertaken possibilities. Words from the first stanza like “few”, “damp” and “poor” and also previous, negative surroundings which mimicked entrapment, to “Pale beneath the blaze, hung in transparent foliage” represent Coleridge’s new found appreciation. The water snakes in “ROTAM” contributed to representing Coleridge’s change-self. The Rook in “LTB”; “The last Rook Beat its straight path along the dusky air homewards, I Blest it!” makes an interconnection between Nature and Man, thus directing a sense that possibility is available in every plot and is capable of awakening a sense of “Love and Beauty” – being the reality of the situation due to the extent of possibility explored.
In Margaret Atwood’s monologue style written poem “Journey to the Interior” she speculates about being lost in her mind, in which she metaphorically and descriptively compares with a geographical, metaphysical environment – demonstrating the harshness and wilderness the mind can undertake. Similar to Coleridge’s concept, Atwood’s imaginative journey uses nature and fauna to ultimately depict the reality and outcome. Atwood faces the difficulty of a mental block, in which she metaphorically describes as “hills which eyes makes flat as a wall”; this expresses her mind blank/lack of inspiration in terms of a geographical plane. This is the reality of the situation. Further exploring the possibilities of a mental block/lack of inspiration, Atwood delves into constant metaphoric language; “endless as prairies”, describing the unlimited possibilities and depth of intellect her mind can take. Atwood continues to use the power and possibilities of language, and further educates her audience, speculating on her own experiences, that traveling for inspiration or further possibility can be “roots in swamps” and “net of air” indicating the wilderness and that it is not always a positive outcome. Being a contemporary composer, Atwood addresses the current context and suggests mental health issues. Metaphorically writing “tangle of branches” alludes to the untamed power of the mind, suggestive of depression. The colour references of “alternate light and dark” gives not to her changing emotions, as a victim of depression, or for falling too deep into possibilities of the mind. Due to exploring the opportunity, it is evident Atwood has stepped out of the journey, by binging herself back to the reality of domestic appliances; “paring knife” and “brambles under the chair”, she knows she must “keep her head” in the reality of the journey and circumstances.
Similar to Atwood’s journey and search for inspiration and possibility, is the New Age bands’ “Deep Forests’” composition titled “Sweet Lullaby”. Through specific musical devices such as structure and repetition, the thesis that “any journey includes both possibilities and realities” is explored. The audience is drawn into the imaginative journey of a woman, like in Atwood’s “Journey to the Interior” and through the captivating and suggestive tonalities of sound and the way the piece is structured, possibilities and a field of imagination is explored. The musical item begins with a synthesized keyboard, being the main source of sound and melody heard which highlights the reality, for no possibilities have yet been explored. Extending this idea, the repetition of the riff will always refer back to the nature of the journey, triggering the audience’s belief that they are being taken on an imaginative journey. In the second verse of the song, the possibility of the power of music is explored. A soulful woman’s voice is heard, layered with drums, creating a “heart-beat” effect, symbolizing that the woman is striving with her life to connect with herself and her search – A motif. Amplifying this woman’s search and extent of possibility, 32 moderately fast bars play the same layers of music. The reality of the situation is released when unity is achieved, with a climax, indicating that the woman has found her inspiration/answer; all instruments/sound sources become complex and play in sync – drums, synthesized keyboard and woman’s voice. Following the climatic response, the main melody played by the synthesized keyboard is no longer heard and no layer refers to the search, for it is the ending and what is found that is significant – the reality and the outcome. Only drums, with the connotations of a heart-beat is played, finalizing the idea that the woman has found her inspiration, and now the reality is that she only needs the organic heart-beat that life provides, to move on.
Questioning identity and roles has been a universal subject reflected through the up-rising existentialists. “Alice’s Dream” written and directed by Marisa McEwan in 2004 and performed in September 2004, foregrounds this idea of self-questioning and search for identity, represented by Alice Liddell. Alice’s main conflict is finding her way to becoming an adult. Theatrical conventions such as lighting, costume and musical devices creates the imaginative quest of Liddell and explores a field of possibility, ultimately alluding to the reality – being a change in self. Reminiscent of the traditional children’s story book “Alice in Wonderland” written by Lewis Carroll, Alice falls down the rabbit hole which enters her body into an imagined environment. In “Alice’s Dream” McEwan highlights this moment through change in lighting and the emergence of off-the-wall, wild characters, accentuated through their visual representation of costume and physical bodily movements, opposite to Alice’s. The imagined characters have a white based costume with bright, wacky props added on, such as sequined vests, to differentiate themselves from Alice, who wears a blue tulle skirt and white top, which hold’s connotations of the traditional “Alice”. The physical movements of the imagined characters explore the possibilities to a grotesque and commedia Dell arte extent, which are opposite to reality, highlighting an unrealistic, imagined field. Distinguishing an imaginative environment, contrast between reality and non-reality are explored through the possibilities of music. A rhythm created through a drum beat is symbolic of order and organization, contrasting to the out of time, disorientated clashes of tambourines and drums throughout Alice’s imagined journey. Alice faces many challenges throughout her journey, which ultimately add up to indicate a change in self. Shown in the “Pool Of tears” scene in “Alice’s Dream” McEwan emphasizes the moment using symbolism. Blue streamers are cast around Alice to emphasize her sadness and the blue lights are used to accentuate her mood of sadness. The theatrical techniques explore the endless possibilities of conveying Alice’s search for her identity. Shown through the majestic music and all characters physical movement from unrealistic postures to realistic, the audience are taken out of the imaginative environment and back to reality. Alice’s final statement “I found another door to me” indicates she has found another element within herself, which she can adapt to the reality of the world around her, all influenced by the courage within herself to explore the possibilities of imagination, which was conveyed through theatrical conventions.
Through the study of Coleridge’s two poems “ROTAM” and “LTB”, Atwood’s “Journey to the Interior”, the composition “Sweet Lullaby” and McEwan’s “Alice’s Dream”, the thesis that “All journeys include both realities and possibilities” is expressed, A change in self being, the reality and consequence due to the courage to undertake the possibilities of imagination, occurs. The convention of each art form contributes to demonstrating both the possibilities, realities, self-discoveries and consequences.
