Judith Wright

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Born in 115 on her father's station in Wallamumbi, New South Wales, Judith Wright grew up to be both a well-known Australian poet and an environmental activist, a passion that inspired many of her works. Her recurring themes include the resilience of the human spirit; the constant struggle of people living in adversity and misfortune; the land on and around where she lives; and the plight of the Australian Aborigines and environment (LearningCert.net). ‘How deeply the active and contemplative may combine in a poet … she grew up with a passionate love and involvement in the life of the country and all its creatures, which is at the root both of her poetry and her political involvement.' (Hope).One particular poem to be written with the environmental theme was "Night After Bushfire".Through the use of extensive imagery, the poem evokes a very clear picture of a bushland or forest devastated by fire. The bleak and black environment is easily imagined through phrases such as ‘Charred death upon the rock leans his charred bone' and ‘this landscape of charcoal and moonlight'. There is also suggestion, however, that "Night After Bushfire" is not only about the aftermath of a bushfire, but the possible effects of a nuclear attack, something Wright was also concerned with.

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There are several themes in this poem, and two of them are suggested by the title, "Night After Bushfire". Wright uses darkness to great effect, both through the natural darkness of night and the black darkness of ash and the charred remains of the forest. Although the sun is mentioned in stanza one, and moonlight in stanza three, light is used to contrast against the more prominent theme of darkness. Death is another major theme, used as a result of the fire sweeping through, ‘Charred death upon the rock leans his charred bone and stare at death from sockets black with flame.'. Death and blackness are often themes that go hand in hand. There is one more theme that is suggested in the poem, and that is silence and stillness. This is related to the theme of death, but is also, in its own way, a separate one. The opening line of the poem, ‘There is no more silence on the plains of the moon', is a phrase which suggests the utter silence of the place in a way that the reader immediately knows, even without the title, that something has happened to the place where the poem is set.The silence also creates a feeling in the reader, a feeling of horror and, in some cases, perhaps fear. Silence can be very frightening if the silence is threatening, but the overall sense in the poem is not one of fear, but of dismay at the death and destruction that has occurred. This is a deliberate thing that Wright has done, stemming from her commitment to environmental issues (Wright was a member of the Wildlife Preservation Society during the 160s [McIlroy]). The loss of life for both wildlife and vegetation due to bushfire is something that occurs often, sometimes through thoughtless vandalism, sometimes through nature itself, and Wright highlighted this continually as an area needing to be addressed.Part of the way that the images are presented to the reader is through personification. Wright personifies two things in "Night After Bushfire", the sun in stanza one, and death in stanza two. By having the sun as a moving, living thing ‘Sun thrust his warm hand down at the high noon', the contrast is again provided between the light and the dark. There is also a contrast between life and death, because the sun is shining after the fire, and is showing off the destruction left behind by the flames. It also, in its own way, shows that despite the destruction, the land will rise again to be living and green.Death is personified in stanza two, in order to have the imagery come to life in the mind of the reader. ‘Charred death upon the rock leans his charred bone and stares at death from sockets black with flame.' Wright uses imagery to great effect, and this personification is a technique used as part of it. ‘What Australian readers found that was new within these familiar formal structures was the mundane - our familiar landscapes and lives - made numinous through metaphors which allowed us to believe in the mind and nature as one, not just in Wordsworth's lake district but on our own doorstep.' (Strauss, 10).Having death personified brings a dark reality to what otherwise might have been just an illusion in the reader's mind, and it is a reality that is common of the Australian bush. As mentioned previously, Wright uses silence to create a feeling in the reader. The silence itself does not create fear or horror, but when combined with the elaborate imagery about death and the use of the word ‘threatened' in stanza three, line one, there is certainly an emotional effect. Some would see this as creating fear, others simply horror. ‘…he who wears the string chains of day will lose it in this landscape of charcoal and moonlight.' These lines, in stanza three, refer to the loss of soul that the fire can bring about. Stanza three itself is like a warning to the reader, to hasten their departure from the scene or risk death. ‘Carry like a threatened thing your soul away,And do not look too long to left or right,For he whose soul wears the strict chains of dayWill lose it in this landscape of charcoal and moonlight.'This stanza finishes off the theme of death started in stanza two, because in stanza two death is real, it is there in the bush taking life, but in stanza three Wright warns the reader against it, thus removing the realness of death - which is not personified in stanza three.Wright uses a simple rhyme scheme in "Night After Bushfire", an ABAB pattern in each stanza, such as stanza one, where the lines end with ‘moon, here, noon and fear' respectively. There are no half-rhymes, and the poem uses a tetrameter system, with four stressed syllable and four unstressed syllables per line."Night After Bushfire" has elements of religion tracing through the lines. Not only is there the theme of death, but also the two references to soul. In stanza two, Wright mentions leaving behind ‘his human home and name'. This refers to death, but also to going somewhere other than earth - such as to heaven. Also, stanza three talks about soul - ‘Carry like a threatened thing your soul away' and ‘he whose soul wears the strict chains of day'. This shows that Wright was a spiritual person, whether or not she completely believed in an institutionalised religion such as Catholicism. The first line quoted again talks about the soul leaving the body after death, the second refers to a type of person who might be at risk of dying in such a disaster.Darkness and death are often used as themes in religion. God is viewed as light and almighty, while hell is dark and sombre, as well as frightening. These themes are evident in the poem, thus adding to the suggestion that "Night After Bushfire" could be considered somewhat religious.There is an appearance through the poem that Wright dislikes very materialistic people. In stanza two where she writes ‘Man, if he come to brave that glance alone, must leave behind his human home and name.' and in stanza three where she mentions the ‘strict chains of day', it seems as if she is saying that if you stay with your possessions instead of seeking safety, you are at risk of perishing with your property and losing your soul. ‘Wright's activism in the public world, initially in conservation matters and then increasingly in Aboriginal affairs, may be unusual in a poet, but it fits perfectly with her commitment to psychic integration.' (Strauss, 15)Throughout the eighty-five years of her life, Judith Wright showed through her works a very passionate love affair with the world in which she lived - rural New South Wales and Queensland. Although spending time in Sydney, during her school years and after World War Two, she returned to her former home, the bush. Her poetry advocated environmental conservation, something close to her heart, as well as using themes of reconciliation and spirituality. She was a modern poet who used a classic theme, but in a new framework and by allowing us to ‘believe in the mind and nature as one, not just in Wordsworth's lake district but on our own doorstep.' (Strauss, 10). "Night After Bushfire" highlights two of the concerns she held for the land, that of devastation through fire and also of nuclear bombs and their effect. REFERENCES CITEDLeavingCert.net. "Judith Wright." Online 18 March 00. http//www.leavingcert.net/serve/cont.php?pg=EN5WRT4554McIlroy, Jim. "Judith Wright 115-000". Online 18 March 00. http//www.greenleft.org.au/back/000/411/411p14b.htmStrauss, Jennifer. "Stop Laughing! I'm Being Serious Studies in Seriousness and Wit in Contemporary Australian Poetry." Queensland, Foundation for Australian Literary Studies, 10.Strauss, Jennifer. "Judith Wright." Australia, Oxford University Press, 15.Tranter, John and Mead, Phillip (ed). "The Penguin Book of Modern Australian Poetry." Victoria, Penguin Book Australia Ltd, 11.REFERENCES CONSULTEDBrady, Veronica. "Judith Wright's Biography A Delicate Balance Between Trespass and Honour." Online at National Library of Australia, 18 March 00. www.nla.gov.au/events/doclife/brady.htmlDepartment of Education, Employment and training. "Poetry and Disasters." Online 18 March 00. www.ema.gov.au/managementcomminfo/schools/pdfs/Final%0SLP.pdfHall, Gerald. "Judith Wright." Online at Australian Catholic University, 18 March 00. www.acu.edu.au/theology/Judith.htmKiernan, Bryan (ed). "Considerations. New Essays on Kenneth Slessor, Judith Wright and Douglas Stewart." Australia, Angus and Robertson Publishers, 177.Roberts, Philip Davies. "How Poetry Works". England, Penguin Books Ltd, 186.

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