Nicole Lin

The most interesting aspect of comparing texts in different times is

seeing the similarities and differences in what people value

Regardless the different contextual experiences humans have, there are concerns and values which appear to
resurface and preoccupy our lives. The notion of longing for what is not our reality is strongly demonstrated in
Harwoods poems, as well as in Woody Allens film Midnight in Paris by perceiving the fixation with the past
as a process fusing elements from the past to give greater resonance to our present. Moreover both express a
deep appreciation of the illusive elements that spark the vitality of our existence. Despite Harwood's
modernist context and Allen reflecting his postmodern world, both explore notably akin values.
Woody Allen's film, Midnight in Paris explores societys value for the past as it enables us to gain a deeper
understanding into our true desires and weaknesses. Allen's protagonist Gil utilises his infatuation with the
past as a form of denial of the present. The motif of his novel represents this profound desire as it not only
facilitates his escapism to the past, but the main character of his novel acts as his alter ego, fulfilling a life that
he desires. The film explores the consistent perception of how, "a different time period is better than the one
ones living in". This frame of thinking can traced to societys materialistic values and desire for concrete
advances in life. Compounded with this, the dehumanizing effect if the internet and increasing urbanization
are both responsible for reducing the value of human contact and a disconnection to society. By presenting
Gils initial encounter with the past through a panning point of view shot, Allen allows us to witness the
moment with Gil. Soft lighting distinguishes escaping to the past between reality, whilst the diegetic music of
Cole Porter and costuming detail authenticates this experience. Allen's utilization of intertextual references to
prominent art and literary figures provides coherence to the film. His journey through the past enables him to
meet his literary idols; F, Scott Fitzgerald, Hemmingway and Gertrude Stein, and through this Gil is able to
validate his ambition and escape from the critique of reality. Before the resolution, a conflict between Adriana
and Gil's desires is revealed as cross cutting of medium close up shots highlight their differences. Adriana
questions, "surely you dont think 20's are the golden age?" Gil sees a reflection of himself and is able to admit
that he was trying the escape to a "golden age". This realisation is essential to his understanding that the
"present is a little unsatisfying" and the unsustainable nature of this fantasy. Though Gil ultimately rejects the
past and embraces the present, this was only possible by experiencing the past. Both Harwood and Allen
present the intricacy between past and present, thus the similarities and differences between textual
comparison from different times acts as a trigger for seeing how both composers values are sustained.
The notion of longing for what is not our reality is evident within Harwood's poems. The tragedies of the
Second World War had a considerable impact on individuals as society longed for a lost wholeness. The first
stanza of "At Mornington" clearly establishes a sense of nostalgia as she recalls being "taken to the sea's
edge," whereby assonance in, "for the first time", emphasises this significant memory and adds poignancy.
Harwood's choice of writing in first person, past tense, evokes a deeply personal and reflective tone,
underscoring her reverence of the past. The motif of water is associated with her memories, whilst the
Nicole Lin
indentation in the third stanza further upholds the importance of memories and provides a frame with which
she can meditate on the past. Though time with loved ones is limited the motif of water provides a source of
comfort as there is "more than enough to refresh us". This epitomises the concept that even though memories
are intangible, it's emotional significance is invaluable. Moreover, "The Sun Descending" expresses longing for
Harwood's lifelong friend, Vera Cottew. The motif of the Oxford Blake embodies her and acts as a vehicle to
access the past. By "hold[ing] it as if to bring you close", the persona values the memories of Vera and
attempts to regain a sense of wholeness. It is ironic that Harwood attempts to capture a sense of her past
presence through exploring the significance of "the first" which is similarly highlighted in "At Mornington". The
influence of Romanticism on Harwood is revealed through the portrayal of Romantic imagery such as, "first
breath of any season, first light on anything, first blossom". These notions can be associated with Vera
Cottew's creative influence on Harwood as her art teacher. Both composers present that there are ways we
can muse the past and find fulfilment in the present. Whilst Harwood reflects upon the past as a form of
comfort in the present, Allen utilises the past to move forward in our personal journey, therefore giving
resonance to the similarities and differences to peoples different values
A similarity between Harwood and Allen is the way in which they privilege what is outside the ordinary or
practical. Magical realism in Midnight in Paris allows for the coexistence of fantasy and reality. Allen
embraces midnight as integral to the transition between reality and the past, as is signified by the diegetic
sound of the clock strikes. A point of view shot of Gill tracks the single movement of the Peugeot and
underscores the significance of the car as his vehicle to access the past. The postmodern qualities of
playfulness, chance and paradox are evident in this pivotal scene. Gil reveals that he is "a little drunk"
suggesting that he may have never entered the car if he was in a clear mental state. After much hesitation, a
recurring 20s jazz melody is played evoking anticipation and a whimsical quality. Likewise, "The Sun
Descending" too shares the insight of a mischievous transitory time. Alluding to the title, "it will soon be
night", Harwood defamiliarises sights like gutters and broken bottles. An uncanny element is evoked in
describing water as "quicksilver", whilst the intertextual reference to "Cinderella's slipper" further consolidates
this notion. The film upholds this ideal through meeting surrealists like Dali, Man Ray and Buuel. The camera
shot frames the four of them at the table signifying an acceptance and inclusion even though he is an outsider.
Though mostly filmed through a medium close up shot, the close up of Man Ray stating "you inhabit two
worlds I see nothing strange," gives emphasis to his words and affirms his ability to shift between eras. Allen
endorses the coexistence of the supernatural and reality.
Harwood appreciates the idiosyncrasies of human experience through the consistent exploration of the illusive
elements of our existence. The modernist uncertainty in making sense of the world is denoted in "The Violets"
whereby perspectivism heightens a sense of nostalgia and ambiguity. Indentations similar to those in "At
Mornington" fragments the poem between the past and present. As a child she asks Wheres morning gone?
allowing Harwood, in a similar fashion to Gill to reflect upon longing for an elusive past. Moreover recalling
taking her supper and was sent to innocent sleep, sibilance reinforces the fleeting nature of ones existence.
"The Violets" illustrates her personal appreciation the Romantic qualities of experience through the extensive
Nicole Lin
use of vivid sensory imagery. The central motif of the violet utilises the idea of scent as a catalyst to access the
past, revealing the power of senses and their connotation to ones imagination. This is evident in the final line
which is condensed, leaving only the very essence of the faint scent, implying an inexplicability to her
memories. "The Sun Descending" acknowledges the existence of supernatural occurrences beyond
explanation. In mourning for the past Harwood directly addresses Vera Cottew, stating, "your spirit brushes
mine" evoking a strong connection to her presence. The final line suggests that Harwood is confident in the
spirit of her friend, and that it is a source of comfort as they both walk "through the solid world". Harwood and
Allen both uphold and strongly advocate for individuals to perceive reality in unique ways to find fulfilment in
our lives.
Though the forms are different, the essential concerns of Harwood's poetry and Allen's film "Midnight in Paris"
remain the same. Both composers show a strong interest in the ability to escape the present through exploring
the common human desire to revere the past. The profound notion of coexisting supernatural elements is also
valued due to the universal hope to find comfort and contentment in our world. Ultimately these timeless
ideas have been able to transcend eras due to its intimate association with human nature.