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This kind of essay will examine the scene through which Maire and Yolland finally kiss via Brian Friel’s play “Translations” and the poem “Meeting Point” by Louis MacNeice to talk about how equally authors present love while something which transcends universal restrictions: in Friel it goes beyond the boundaries of dialect and words and phrases, and in MacNeice, it goes beyond the restrictions of time and space. The transcendence is definitely therefore even more human in Friel, and even more physical in MacNeice. The two writers employ repetition to present their concepts. In Friel, the repetition is light-hearted and connects the personas Maire and Yolland, inspite of their failing to communicate in any conventional sense. In MacNeice, the repetition stops the circulation of time, recommending that take pleasure in has suspended its constant passage.

The duplication in the scene from “Translations” initially produces a painful, round linguistic pattern, showing the characters’ plight to be caught in a express of uncommunicative and inconsequential dialogue. Characters repeat themselves (“Earth¦Earth”, “George¦George”) and they replicate each other peoples phrases (“O my God¦O my God”, “Say anything. I love requirements of your speech¦Say anything at all. I love the sound of your speech”). Even though this repeating highlights their particular plight, additionally, it emphasises the truth that it is a shared plight, with dramatic paradox making the repetition much more overt to get the audience who also are aware of the fact of replication whilst the characters are generally not. They discuss the same bad luck, and, we come across, the same thoughts (“the failure of it¦the futility of it”). The endless repetition is funny in English, but undetected for the characters, which in turn blends humour with the tragic fact that although these two character types love each other they are unable to communicate their very own feelings in just about any conventional method due to the constrains of dialect.

Yet , they do not ought to communicate in just about any conventional method: their feelings are conveyed despite the fact that the words carry simply no literal which means to their recipient. Both heroes remark that they can “love the sound” from the other’s “speech”, and simply hearing the other person talk causes them to be both “smile”. Indeed, though they cannot understand each other, they claim to “know” what they’re “saying”. Actually the one fast of the scene where the terms carry just literal that means, when Maire speaks “as if British were her language”, leads to “misunderstanding” and the characters’ moving “away” via each other, rather than “closer” as before. This provides a visual portrayal of the characters becoming “closer” through an understood deeper which means and moving “away” when only speaking literally. Friel has shown just how love will be able to transcend the boundaries of language and words allowing two people to communicate their love in a language nor can understand.

MacNeice also engages repetition in the poem, nevertheless instead of evoking a plight of failure to talk, it signifies a transcendence of standard perceptions of time. Time is normally linear, a relentless process of change. However in MacNeice’s poem, the composition of time does not flow in one linear advancement, but is made up of many rounded cycles. Each stanza is usually 5 lines long, together with the 5th range an exact repetition of the 1st. As well as intra-stanza repetition there is also inter-stanza replication, with the avoid of “Time was away” at the poem’s beginning, midsection and end. Indeed, it really is this avoid of “Time was away” which spells out the poem’s message that love can transcend time, and it is repeated with a big difference in the last stanza: instead of “Time was away and anywhere else”, it is “Time was away and she was here”, hence explaining so why Time is definitely absent. The meeting of loves “stops” time, plus the repetition through the poem evidences this.

The composition suggests that appreciate does not simply transcend period, but space too. The natural symbolism of the “stream¦flowing through heather” and the “miles of sand” in the “desert” suggests that the lovers, devoid of moving, include travelled significantly far away through the “coffee shop” in which that they sit. Audio ceases to exist also, when the enthusiasts meet, since the bell, which “clanged” before, becomes “silent”. We have a motif of merging as well, with the “two people” who have “one pulse”, and the place which becomes “one glow”. This thought of that which is definitely separate being made whole by love can be echoed through the ABABA rhyme scheme, which weaves over the poem, just like two connected lovers. The paradox of “praising” a “God” who also makes a “heart” which “verifies” his individual existence shows the idea that love exists over and above the rational, and features transcended most physical laws of time, space, and common sense.

Both equally writers consequently present love as a thing that heightens human existence simply by releasing all of us from the vices of widespread boundaries including language or perhaps time. For Friel, like allows us access to a heightened experience of interpersonal communication which is beyond phrases, and for MacNeice it allows us to access a greater physical presence beyond space and time.

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