There Is Sweetness In Willing Surrender Poem Analysis

Jennings volumes from 1980 to 2000 include Celebrations and Elegies in 1982, Extending the territory in 1985, Tributes in 1989, and Times and Seasons in 1992. Familiar Spirits in 1994, In the Meantime in 1996, Praises in 1998 and Timely Issues in 2001.
According to Jane Dowson and Alice Entwistle, generational divides, immediately the most definable are largely inappropriate when women’s publishing ages so markedly vary, but they provide a point of departure for examining the period specific treatment of cultural politics, female identities and stylistic trends later on. Some of the oldest writers had their most productive periods at the end of their careers but publicity packaging tends towards ageism. As Rumen’s observed :‘Our senior women
Self-Loss and Renewal in the Poetry of Elizabeth Jennings, Kathleen Raine and Stevie Smith begins with the truth in Jennings poetry that her poetry offers a willing surrender through self-loss and renewal. Dowson talks about the absorption with spiritual quest of post second world war women writers like Patrica Beer, Frances Cornford, Ruth Pitter , Anne Ridler, Steive Smith and Edith Sitwell which has been overlooked in spite of the fact that it is an particular concern of that period. Spirituality is still considered awkward in its oblique polarization from its materialist politics. Defence and Celebration are the two positions for a feminist critic. Defence is constituted by the actuality that Jennings, Smith, Sitwell, Beer and Pitter were all unmarried. Therefore the inventive constructions of mystical union and mutual association can become visibly remedial for a missing partner or lover. The suicide attempts of Jennings in 1960, suicide of Anna Wickham in 1947 Smith’s constant death wish and mental breakdowns and depression of H.D ,Cornford and Jennings prevent to authorize women poets’ spiritual quests with claims of their strong female autonomy. Nonetheless spiritual transcendence can be a gesture of independence and self-realization which is free of cultural ideals: self-loss presumes a sense of
Three new categories for feminist criticism are proposed by Isabel Armstrong in The Radical Aesthetic (2000). This feminist criticism avoids raw identity demarcations: the expressive, the phallic and the lucid. Armstrong in her essay suggests that: “The great project of the expressive formation is surely the further investigation of affective life. Spiritual life which is an aspect of the affective life has been reduced by western criticism to the visual, simply seeing into the life of things” (Armstrong 116). She disregards the ways that the text calls out the need to ‘enter into a relationship with someone” (Armstrong 97). Further she adds that our culture separates feeling and thinking from each other in such a way that they are supposedly opposed to each other (Armstong 116). According to Hegel, religious feeling is the most protected from thought. Jane Dowson follows Isabel Armstrong and she further argues for the liberation of the affective as an epistemic or a source of