Themes and Characters
“Discord in Childhood,” by the British poet D. H. Lawrence (1885-1930), is a poem at least as interesting for its sound effects as for its content. It is a work that illustrates how a skillful writer can intensify meanings through sounds, imagery, diction, and structure. Even the title of the text is memorable in its sounds and rhythms: the words “Discord” and “Childhood” both feature strongly accented first syllables as well as heavy emphasis, through alliteration, on the consonant “d.” It is as if Lawrence wants to stress the similarities between the sheer sounds of the words in order to imply how strongly the concepts of discord and childhood are also associated in the speaker’s mind.
When the poem begins, sound effects are again immediately emphasized. Thus the first three words (“Outside the house”) use assonance (or similar vowel sounds) to link two of the poem’s key terms. This is a poem, after all, that will begin by focusing on the “Outside” (the world of nature) and then move into the interior of a “house” (the world of human beings). Yet neither world, as it turns out, is especially appealing or attractive, and the poem can in fact be seen as anti-Romantic in realistically depicting an absence of beauty and a lack of love. In poems such as this, Lawrence and other twentieth-century “modernist” authors were reacting against the naively optimistic writing sometimes associated with the Romantic and Victorian periods of the nineteenth century. Nature provides no consolation in this poem, as it often did in works by the Romantics and Victorians, nor does human love serve a reassuring function. Instead, nature here seems threatening and love seems replaced by hatred.
The speaker’s reference to the “terrible whips” of an “ash-tree” already sets a violent tone for a poem full of violence of various kinds. Perhaps the speaker has in mind a so-called “weeping ash tree,” whose branches hang almost vertically down to the ground, much like those of a “weeping willow.” Certainly the idea of weeping would be symbolically appropriate to this sad and disturbing poem, while the reference to “whips” in line 1 foreshadows the poem’s later emphasis on potential beatings and emotional pain. The ferocious sounds heard outside the house are, ironically, in some ways less troubling than the fierce arguments overheard later...
(The entire section is 1067 words.)
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