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 of age(p) man is depicted as vain, arrogant, pretentious and dull, stuffy, detain in an insular parochial stable and smug arena piece the unexampleder girl combines both technical accomplishment and passion. Eisenbart comes across as rude and superior by reluctantly deigning to discover the Assembly to primarily to flaunt his superiority. Even his feature and arrogance is qualified as an “unspecified kind”. done quick use of structural irony, a fluctuating forest and sagacious 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 happy supremacy and the initial adulation, when confronted by true skillful pursy talent of a young precocious Mozart (whose practice of medication has power over the mind and passion) played by a vibrant passionate adolescent, he suffers a reversal and utterly sees the emptiness of his vaunted pride.

He finds himself “a fool trapped by music in a copper net of hair” 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 jo! lts the subconscious, stirring complex, dormant, insubordinate urges of sexual fantasy, his “rose-hot dream”. The unifying motif of hands, from Rodin’s, Eisenbart’s change pose to the arrogant hands of the girl’s narration of Mozart, completes the circle of pride going before the fall. Her arrogance is hit on genuine performance, while his is...If you want to get a full essay, order it on our website: BestEssayCheap.com

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