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he enjambment of the first two lines make the poem flow and depicts the movement of the roots coming alive again

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The enjambment of the first two lines make the poem flow and depicts the movement of the roots coming alive again, gra

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The descending shape of the stanza could represent the downfall of their friendship, whereas the ascending line length mimics the continuous flashback of memories. This flow is interrupted in the second last line: “that all our jewelled fantasies were” which is the longest line, thus implies his realisation of the decease of his

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How does Hone Tuwhare combine enjambment, shape and line length in his poem ‘friend’? And, to what effect? Why?

In this stanza, Tuwhare uses enjambment, to imply that there was an absence of stopping but no proper end to his friendship. He asks us to “Allow me to mend the broken ends/of shared days:”. The diction “Allow me” shows that he is trying to mend his friendship, and the diction ‘broken’ and ‘cracked’ has connotations of destruction, brittleness and pain. The line break after ‘broken ends’ and ‘cracked’ could be emphasizing how there was a sudden stop put to their friendship. The line length of  ‘shared days’ could imply that their friendship only lasted for a short time compared to when it ended. Furthermore after the line “no silken tracery on the cracked”, the line is short again compared to all the other lines. The sentence length reflects the content of the poem. This contrast between long and short sentence lengths and emphasises the damage done to their friendship and the pain this caused, making the readers feel sympathy towards him.

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How does Hone Tuwhare combine enjambment, shape and line length in his poem ‘Friend”? And, to what effect? Why?

In the poem “Friend” by Hone Tuwhare, he uses enjambment, shape and line length in stanza 5 to present his will or desire to become revive his friendship. The descending shape of the stanza could represent the downfall of their friendship, whereas the ascending line length mimics the continuous flashback of memories. This flow is interrupted in the second last line: “that all our jewelled fantasies were” which is the longest line, thus implies his realisation of the decease of his friendship that is reflected by the past tense ’were’. The enjambment in this stanza: ”I clasp…real and wore splendid rags.” of this stanza could be perceived as the poet actually reaching out and trying to grasp his friend, but couldn’t or struggles to, which signifies the collapse of their relationship.

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Hone Tuwhare combines shape, enjambment and line length to the poem to emphasize and symbolize what he is stating in the poem.

Perhaps the tree

will strike fresh roots again:

give soothing shade to a hurt and

troubled world.

The line length varies a lot which could symbolize the spreading out and randomness of roots, the varying line length could also symbolize the roots growing and solidifying their place in the ground. The enjambment of the first two lines make the poem flow and depicts the movement of the roots coming alive again, gradually, through the process of the life cycle. Alternatively, it reveals the time it will take to strike new roots.

Hone Tuwhare memorably uses structure to depict the importance of friendship. He does this through the elongated line ‘give soothing shade to a hurt and’ which extends much further than the next line ‘troubled world’, this creates an effect of sheltering the ‘troubled world’.  The diction ‘soothing’ has connotations of calming and reducing hurt and pain, and the diction ‘shade’ has connotations of sheltering, as is reflected in the structure. The phrase ‘soothing shade’ is a metaphor for friendship and the support it gives.

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Tuwhare effectively combines structure and layout to mimic the content of his poem. Stanza 1 forces the friend or interlocutor to ‘remember’. The action of remembering is connoted through the enjambment between the lines as we ‘remember / that wild stretch of land’. The reference to ‘wild stretch of land’ is shown in the line length, which is slightly longer than the first line. This ‘stretch’ is enjambed into the third line to reveal ‘the lone tree guarding the point’. The diction ‘point’ denotes a piece of land that juts out, just like the line in the poem making it the longest line in this stanza. Juxtaposed beneath ‘the lone tree guarding the point/ from the sharp-tongued sea’.  Tuwhare combines these images to recollect his childhood memories and evoke the place where his friendship which is now broken takes place.