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Elizabeth Bishop

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Nature versus Human: Analysis of Bishop’s “Seascape”

Barbora Kolísková

ILS

6 December 2013

Jennifer Yaros claims that one of the ways that Bishop portrays the status and emotions of an outsider is by using nature and not only this but also with picturing humans as an interfering feature in nature. In “Seascape” Bishop uses religious allusions to make the distinction between the world of the nature and men more clear. The portrait of human as an unnatural part of the landscape reflects Bishop’s childhood and consequential feeling of homeless. The feeling of homeless is rooted in her miserable childhood: her father died before she was a year old and her mother couldn’t cope with and became insane. She had to be hospitalized in mental hospital and Bishop was then in the care of her paternal grandparents who moved quite a lot and her feeling of homelessness remained with her until she moved to Brazil in nineteen fifties. The poem “Seascape” is most probably describing the landscape in Key West where Bishop occasionally lived in thirties and forties. The proof of this can be found in the fourth line where it mentions a mangrove island, mangrove plants being found in the tropics and subtropical areas. Concerning the structure of the poem it has 23 lines of free verse. Visually the poem is coherent but on closer inspection it is obvious, that it is split into more substructures. The first part consists basically only of one sentence of thirteen lines. The use of no full stops indicates that the section should be considered as one part without any interruption. “Celestial seascape” could be a good title of this section and Bishop describes here the beautiful heavenly landscape using a lot of supernatural and also, shocking features. Starting with the first line: “This celestial seascape, with white herons got up as angels,” –supernaturalism is here

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