Analysis Of I Rejoice: An Exile In An Own Country By Jean Ward

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The speaker expresses faith in the poet’s ability to reconstruct a world free of the fall, an edenic, mythic world that flourished “before the serpent perverted language when persuading Eve and before the destruction of Bable scattered language into a multiplicity of tongues, mutually foreign” (Edwards 137). The image of the swift in this poem provides a symbol of unity of being which reminds us of the initial unity we have lost, a unity which could possibly be regained through art. Jennings draws attention to this imagery and to the way in which poets have used it to express and to define their ideas about the relationship between inspiration and craft, the spiritual and the physical world.
While Jennings acknowledges the influence of her inherited religion, what she celebrates in Consequently I Rejoice is the innovative way in which sculptors, painters, and poets use various modes of representation to give meaning and value to life. She writes poems about poetics which stress the technical ability in the creation of art as religious activity. This poem affirm the links she has already established between human creativity and religious experience by emphasizing the way in which her experience of religion is related to her faith in
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, Jean Ward discusses about Jennings poetry which is shaped by Catholicism, Catholicism is to an extent alienated from English culture that designs Jennings’ sense of literary tradition. The themes, forms, its forms and language are informed by catholic beliefs and tradition. The concept of communion of saints, understood in terms that are foreign even to what remains of Britain’s Protestant Christian culture, is recognized as a distinctive aspect of the world view revealed in her poems, as if the little- understood Catholic devotion of the Rosary and the doctrine of real presence of Christ in the Eucharist. All these contribute to the individuality of her

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