COMMON MODULE STATEMENT

In this common module students deepen their understanding of how texts represent individual and
collective human experiences. They examine how texts represent human qualities and emotions
associated with, or arising from, these experiences. Students appreciate, explore, interpret,
analyse and evaluate the ways language is used to shape these representations in a range of texts
in a variety of forms, modes and media.

Students explore how texts may give insight into the anomalies, paradoxes and inconsistencies in
human behaviour and motivations, inviting the responder to see the world differently, to challenge
assumptions, ignite new ideas or reflect personally. They may also consider the role of
storytelling throughout time to express and reflect particular lives and cultures. By responding to
a range of texts they further develop skills and confidence using various literary devices, language
concepts, modes and media to formulate a considered response to texts.

Students study one prescribed text and a range of short texts that provide rich opportunities to
further explore representations of human experiences illuminated in texts. They make
increasingly informed judgments about how aspects of these texts, for example context, purpose,
structure, stylistic and grammatical features, and form shape meaning. In addition, students select
one related text and draw from personal experience to make connections between themselves, the
world of the text and their wider world.

By responding and composing throughout the module students further develop a repertoire of
skills in comprehending, interpreting and analysing complex texts. They examine how different
modes and media use visual, verbal and/or digital language elements. They communicate ideas
using figurative language to express universal themes and evaluative language to make informed
judgements about texts. Students further develop skills in using metalanguage, correct grammar
and syntax to analyse language and express a personal perspective about a text.

Anomalies – Behaviour and motivations outside the norms and conventions of a particular social
context.
Paradoxes – Behaviour and motivations which on the surface, do not make sense
Inconsistencies – Behaviour and motivations which changes in some way.
 How does the representation of time and memory in Dobson’s poetry shape your understanding of the
human condition?

Reflection on past experiences renders an appreciation for the passage of time as memories play a
fundamental role in shaping individual identities. It is through engagement with time and memory that
provide humans with the potential to share or enact moments of growth and change. This notion is
reiterated in Rosemary Dobson's suite of poems, where she makes poignant use of didactic poetic style to
construct personas that respond to the dynamics of life through their confrontations with both time and
memory, exemplifying the fundamentality of reflection to enhance the individual human condition.
Dobson’s poem Young Girl at a Window (1944) explores the relevancy of time to enact moments of
growth, Summer’s End (1944) embraces the essentiality of memories in creating a sense of continuity and
Amy Caroline (1965) celebrates the passage of time in enabling an appreciation for old age. And Cock
Crow illuminates the paradox between motherhood and seeking individuality. As such Dobson compels
her audience to be motivated to accept growth and change as it will allow individuals to respond to the
adversity and uncertainty of the human condition.
Young Girl At a Window
The relevancy of time whether past, present, or future provides humans with the potential to enact
moments of growth and change. Rosemary Dobson captures this concept in “Young Girl At A Window”,
a poem intentionally portrayed to be a portrait depicting the uncertainty and hesitation that arises with the
progression of time in one’s life; more specifically the transition of childhood to adulthood for a young
girl. Structurally, Dobson elevates the effectiveness of tonal shift by incorporating it into the progression
of the stanzas. Following the persona’s initial resentment in the first stanza, the tone shifts within the final
stanza to illuminate a more hopeful, confident attitude towards her future where from her window she
examines a world beyond. Initially, her fears are so overwhelming that they are personified amongst the
furniture that exists around her, “The guiltless minute hand is still: The watchful room, the breathless
light”. By personifying the minute hand to be ‘still’, the room ‘watchful’ and the light ‘breathless’, creates
a build-up in tension. This indicates that the prospect that the continuation of time and one’s untold future
cultivates anxiety within the general human condition. Personification employed within this poem plays a
significant role in suggesting that the very elements of the room she resides within are part of a conspiracy
to move her forward into the next stage of her life. Within Young Girl at a Window, Dobson reflects on
the point of transition from childhood to adulthood and the hesitation and concerns experienced by people
on the threshold to a new stage. The poet personifies the word ‘Time’ by capitalising its first mention,
“Since Time was killed and now lies dead”, to reinforce the weighted decision and its import and effect on
the persona. The verb ‘killed’ is quite dramatic employing personification to suggest that ‘Time’ in her
life is dead, stagnant and that the persona’s existing experience has been finalised. There is a resentful
tone, filled with blame in this final line, synonymous with the commonly used idiom of “killing time” to
describe wasting time as we wait for something to happen. Her view from the window symbolises the
immersive development of the persona’s growth mindset and her newfound willingness to “Travel a
journey... in forward footsteps, chance assault” and travel into the unknown, both emotionally and
physically. The final line of the poem clarifies upon her acceptance of the unknown that the future holds,
‘Through grass and sheaves and, lastly, snow’ through the incorporation of seasonal metaphors to present
the archetypal nature of life itself. The word “grass" symbolises spring, youth and opportunity, a
greenness suggesting naivety. The 'sheaves’ represent the period of harvesting, the time of maturity and
the knowledge and willingness to continue to reinvent and challenge oneself before the climactic "assault
of life is over”. The final archetype, of 'snow', symbolises winter and death presenting the metaphysical
imperative of a life lived to the fullest, engaging with the before we are lost to the ongoing and
personified 'Time' that may consume us. Dobson presents the philosophical underpinnings of youth
experienced by young people. Communicating a message that urges Dobson’s audience to act and engage
with a life of integrity, a life of passion and fulfilment to encapsulate the meaning of being human.
Dobson crafts a sense of guidance through the inherent change from childhood to adulthood integral to the
human experience, facilitating a revelation that even though may seem personal, is ultimately shared in
nature.
“Summers End”
‘Summers End’ ignites the conflict between the desire of youth against the changing identity of
maturation similar to ‘Young Girl at a Window’, to highlight the ephemerality of life. The poem’s diptych
structure allows Dobson to portray a dynamic exploration of memory and nostalgia, the first stanza titled
‘After the Summer Season’ and the second titled ‘Picnic’. The first stanza shows the act of departure
concurrent with the ending of summer and the second is set in the autumn, depicting returning to self and
the past. Introducing a stereotypically beautiful scene that depicts the end of summer, an idyllic image
which is soon subverted by images of neglect, abandonment. In ‘After the Summer Season’, Dobson
reiterates the innocence and joy of childhood that dissipates as individuals grow older and experience
adulthood. The opening of the poem, “spotted scarves and the sunshades striped like candy”, is comprised
of a multitude of poetic techniques; the simile ‘like candy’ reinforces the imagery of joy and childhood,
and the use of sibilance creates a visceral reminder of youthful summer experiences. The notion of beach
culture itself resonates and allows the reader to see an image of an iconic Australia that at once endures
because of the nostalgia. However, these images of youthfulness are soon subverted, reinforced by the
consonance employed in the lexical chains “carried...curl…crash…splash” replicates the tumultuous
upheaval of change at the end of the summer experience which ends with the definitive ‘departure’. The
tone changes focusing upon the emptiness of the holiday homes and the silence that falls on holiday
destinations which often revert to places of retirement when the summer ends. The overwhelming feelings
of watching homes without families as the landscape and population dissipate into hibernation. Loss is
exemplified further at the ending of the first stanza, where the phrase “walks on the beach in the
moonlight”, a euphemism for reflection, reiterates the genuine feeling of isolation. The reference to the
classic fairy-tale ‘Little Mermaid’ found in the line “the lonely mermaid/ Who married a mortal: who
weeps at the edge of the water”, alludes to the idea that once summer is gone, the persona is like the
mermaid, merely watching, grieving, and hoping to re-join the joys of the human experience the following
summer will bring. With the second section, ‘Picnic’ being set in Autumn, which is associated with
change and growth, the tone shifts from appreciation of youth to contempt for adulthood. The use of the
synaesthesia ‘bitter smoke’ contrasts drastically with ‘candy’ and the sweet description of youth that is
presented in the first section. As a result, the narrator evidently expresses a clear distaste towards ageing,
although she expresses nostalgia in the metaphor ‘the tadpoles (years and years ago) slipped past my
fingers’. The symbolic alignment of the tadpoles to the persona’s youth expresses a deep sense of loss,
whilst the repetition of ‘years’ emphasises the deep longing for the past. The juxtaposition of the two
stanzas that portray the persona’s childhood and adulthood reflects the collective human experience of
growth and change. The emphasis of the joy and consequently, loss of youth explores the ephemerality of
loss and the stream of passing time, reflecting upon the happiness that delivers from ordinary and
momentary experiences. Therefore, through ‘Summers End’ Dobson makes an effective commentary of
the human condition that despite the human experience seeming tedious, it is too balanced with the
momentary feelings of joy, laughter, and indolence. Thus, to encapsulate the totality of being human, she
encourages her audience to reflect on their past and celebrate the nuances of the collective human
experience.
“Amy Caroline”
Whilst ‘Young Girl at a Window’ and ‘Summer’s End’ explore the process of ageing and the initial desire
against it, ‘Amy Caroline’ illuminates the appreciation of age as a valued aspect of human experience.
The poem ‘Amy Caroline’ reinforces Dobson’s concerns with continuity and resonates with the benefits
of human connection. The poem recounts the tale of the persona’s grandmother whose life has been
incredibly difficult but is paradoxically marked by kindness and generosity. The human experience of
overcoming adversity is reinforced by the structural choice Dobson makes, with an unbroken stanza and
use of enjambment to prevent pauses throughout the reading of the poem. Through this, the audience is
encouraged to remain engaged with Amy Caroline’s ability to remain kind-hearted despite her difficult
circumstances. Her challenges are depicted through the tricolon “eight children, little money, many
griefs”, enlightening the audience on the strength it took for Amy Caroline to overcome this challenge.
Dobson utilises a simile and analogy within the line “like a sparrow had a bird’s/ Bright eye” to compares
the grandmother to an observant bird that recognises the value of generosity. In the following lines the
audience is informed of Amy Caroline’s willingness to share what she cooks with others, including both
animals and humans. Always preparing “an Extra place for strangers”, the particular notion reflects the
context in which the grandmother grew up in, during the Depression prior to World War II. The ‘custom’
Amy Caroline has observed has become part of her perception of human experience, the ‘kindness’ she
has observed extending to both individuals. The use of "like a sparrow" and "in her thin house" uses the
simile of a small, delicate bird and the adjective 'thin' to develop images of fragility and vulnerability
surrounding the grandmother. This is then juxtaposed with the lexical chain of the grandma taking care of
multiple living organisms, "food for lizards...crumbs for wrens....saved the household water for
geraniums". The symbolic saving of water and acts of care graciousness demonstrate a frugality and
usefulness that reflects her overall wisdom. It also depicts strength and reliability as she is taking care of
others instead of being taken care of. This is furthered through the use of the active voice, which places
the focus of the poem on the grandmother and her actions, actively taking care of things around her, thus
showcasing health and a sense of power. Time is also a shared element in this poem too, where human
experience is suggested to be one of continuity and change noted through the lexical chain of ‘twilight,
the mediative hour’ and ‘semi-dark’ suggesting the time for reflection has come for the persona and the
speaker. Her age is referenced here and the nostalgia of her reminiscence of memories and values infers
the ongoing connection between the past and present. This poem allows the audience to reflect on the
human experiences of the older generation. Their interpretations of the world around them confirm that
human experiences shape how people grow up to be, their values, customs, and routines. The witnessing
of hardships in the past, motivates people to work to avoid the same pressures and inconveniences in the
present whereas the experiencing of kindness and frugality drives individuals to act with the same values
throughout their life. This poem challenges our ability to empathise, reassess values and commend
human resilience, rendering a deeper appreciation for the human condition.
“Cock Crow”
The poem ‘Cock Crow’ illuminates the conflict between familial responsibilities and the sustenance of an
individual identity. Following a rigid structure of 5 stanzas of 4 lines, all written in tetrameter, reflects the
rigidity of being confined to the role of a mother. ‘Cock Crow’ as a defiance against conventional gender
roles, being published in the midst of the second wave feminist movement to shed light upon the struggles
of motherhood rather than the joy it is often associated with. With the evident conflict between the
persona's independence of wanting to be myself, she embarks on a night walk. The opening stanza
establishes the perspective of the speaker. She is asserting a need to not only be ‘alone’ but asserts the
need to be ‘myself’ – an internal longing to be an individual with none of the responsibilities her current
experiences place upon her. The line “Turned back and walked the way I’d come” the persona’s repetitive
motion conveys her uncertainty and guilt towards her choice, reflective of her internal conflict. The
circular nature of the walk and the return to where she has started is a significant metaphysical reminder
of the cyclic nature of the life the speaker knows she contributes to as an element of human experience.
This strongly explores the complexity of ageing, as it highlights the increasing responsibilities and
sacrifices that are attached with a matured identity. In which women are bound by social paradigms of
sacrifice due to constraint upon individualism and personal integrity. Symbolically the use of the biblical
allusion; in reference to Peter’s betrayal of Jesus, reverberates the constant reminder that is forced upon
women to uphold their domestic roles ordained by society. “Three times I took that lonely stretch/Three
times the dark trees closed me round…”, although the biblical allusion of Peter’s betrayal of Jesus
encapsulates the main idea of struggles that arise due to these inordinate expectations enforced by
humanity. The immense guilt thus, highlights the persona's own awareness of the betrayal, as she
fundamentally achieves her anagnorisis with the exclamation, “too brief illusion!”'. The description of her
desire from the detachment of her familial role as illusion' depicts her contemplation in the absurdity and
dream-like desire. The metaphor, “love that grows about the bone” cements this also, as she interweaves
her familial love into her physical being, therefore being an integral part of her matured identity. As “she
turns the handle of the door” to enter back into her house, it is symbolic of her choice in moving forward
and accepting her responsibility as a mother. Although the focus on the “handle” conveys slight
tentativeness, it displays the inevitability of sacrifices within the process of ageing. As a result, 'Cock
Crow' explores the idea of ageing through the conflict between her desire for freedom and her maternal
identity, effectively exploring the complexity of human experiences as a result of ageing.
“Canberra Morning”
Through the first-person perceptions offered on mundane aspects of everyday life, Dobson’s poem
‘Canberra Morning’ encapsulates her transcendent philosophies regarding ageing, presenting as an
observational poem. The poem is written in four quintains, following a similar freeform style and are
unmetered. Each stanza acts as vignettes capturing photograph-like moments of what the speaker
witnesses: a cat, children at a bus stop, and a Sartre Wielding Bus driver. The fourth stanza summarises
the persona’s reflections on the scenes they witness offering a kind of ambiguity that could be interpreted
as detached or philosophical. The imagery presented in the introductory lines, “long shadows like low
bellied cats creeping under…stealthily”, subverts the traditional perception of the morning as time of
brightness and light instead focusing on darkness. Describing the cats as “low-bellied” is indicative of an
older cat who has birthed litters of kittens in the past, but now chooses to lie in the shadows and lurk.
Through this there is an appreciation of being able to spend time watching the world rather than having to
actively participate in the busyness like the persona engaged in before. The second stanza presents a
contrasting vignette, the sentience presented here is of noise, laughter and the busyness that the narrating
persona mentioned in the first stanza. Presented in the line “a flock of starlings:/school children
chatterers”, the use of the colon grammatically creates a simile comparing the school children to the noisy
starling birds, thus audibly connecting with the audience through a shared human experience of irritation.
The observation of the younger generation intentionally alienates the persona who due to belonging to an
older generation, is detached from the children’s naivety and lack of self-awareness. The bus driver is the
next observation, “The driver’s got a book by Sartre in his pocket/listens moodily to the Top Forty”. The
anomaly incorporated within his character is made apparent by the allusion to the French existentialist
philosopher Jean-Paul Sartre, giving the impression that this driver carries a niche, compelling
personality. Yet the mention of him “listening moodily to the Top Forty” subverts such expectations and
characterises him as nothing more than a typical man. Dobson concludes her observations in the fourth
stanza by cynically stating that her life has improved as a result of her age, whereby she is able to view
the world “slant-wise” and “not give a damn” about the lives, experiences and routines of others.
Returning to the beginning wherein the responder’s expectations of light are challenged by apparent
darkness, shown through the narrating persona’s message of advising readers to display little interest in
the world around us. Thus, it is through this poem that Dobson reveals the inherent inconsistencies,
motivations and flaws integrated into the minutiae of daily life, and how with age these observations
seemingly become less impactful on one’s own individual perception.
“Over the Hill”

Dobson’s poem ‘Over the Hill’ captures the moment in most working people’s lives, exploring the
narrative of a workman's journey home following a day completed at work. The poem consists of an
uninterrupted stanza of 18 lines in iambic tetrameter, employing alliterative phrasing in most lines of the
poem. The use of consonance, assonance and internal rhyme creates rhythms that assist with the reading
of the poem which is blank verse. The title of the poem ‘Over the Hill’ presents us with two ways of
reading this poem. ‘Over the Hill’ is a common euphemism we use in society for suggesting an individual
is past their prime. The poet uses the play on words here to depict the age of her persona and yet,
contradicts the notion that he has no usefulness with the energy we can draw from the language and
rhythms of the poem. Dobson represents this particular human experience through the lens of the
workman, where the use of terms such as ‘dredges’ and ‘toss’ in the line “This workman dredges home at
dusk/with bluntly forward boots that toss the roan earth out”, indicates his tired and bitter emotional state.
Despite this being an individual experience, it positions readers to reevaluate the significance of mundane
actions which have a deeper emotional meaning. In Over the Hill, Dobson explores the narrative of a
workman’s journey home following a day completed at work. The poem begins with the workman
climbing a hill and glancing at the sky, with the vivid imagery of the ‘lemon-coloured light’ of the sunset,
constructing the motif of the landscape that is developed later in the poem. Striding from ‘hill to hill’ (an
extended metaphor of life’s endeavours), the workman stands resolute, and proceeds to ‘light his pipe’
with ‘unconscious insolence’ to life, symbolic of his laid-back and largely carefree approach. Dobson
furthers this characterisation of the workman, in the imperative, ‘he could move mountains if he cared’,
whereby her tone of ambivalence effectively characterises the archetype of the Australian workman –
indifferent and simple. The metaphor that concludes the poem, “but a mountain in the palm of one’s hand
is a troublesome thing”, can be interpreted to be a reference to the difficulty of constantly grappling with
life’s struggles, whereby it is a point of discomfort to have life’s issues in ‘one’s palm’. On the contrary,
extrapolating from the motif of landscape mentioned earlier, the line can be understood to be an allusion
to the mining industry that characterises the Australian economy, whereby there is significant tension and
juxtaposition between the beauty of the environment, and the burden or ‘troublesome’ nature of altering
the landscape in pursuit of the workman’s typical activities. This conclusion is particularly poignant in the
sense that Dobson rounds off the poem by indicating that the workman has put the mountain down after
turning it slowly – he has realised the effect his activities have had on the environment and has
withdrawn, presumably to continue on his way.
“The Conversation”
The poem centres responders on the notion that shared human experiences do not need actual words to
express the emotions of any given event or moment. We can connect with others through silence and these
silences frame a perspective of human connection that may be lost amongst the everyday business. The
poem encourages us to sit and share a moment, a landscape and experience without words so that we can
connect simply and freely with our imaginations. The Conversation consists of four stanzas six lines each.
The sestets on rhyme in the forth and sixth line. The poem presents a paradox - a conversation that does
not take place in the literal sense, but demonstrates the connections between individuals that have spiritual
depth and as such require no words . Dobson begins the poem with the simile “His old fist like a knotted
branch” Suggests the extremity of age, a hand twisted into a fist with arthritis perhaps. The notion of age
here is significant as it establishes the contrast with the second persona, who we can assume to be much
younger, a child. The lyrical description of the landscape shows the common point of interest between the
child and the man. “This is morning ! - The mist is like white scoured wool is teased and spread about the
hills ” The enjambment of the exclamation mark and em dash (-) in the imagined dialogue not only create
a sense of delight at the spectacular visual of the morning, but also prepares the reader for that visual. ​The
simile comparing the "mist" with the "wool" also creates a visual image of how the mist looks in the sky
as it permeates the landscape. The verbs scoured...teased...spread' accumulate imagery of 'clouds'
stretched out across the sky, a picturesque morning and moment shared by both personas. ​

“He punched into his cap” “I nodded in agreement/ And likewise punched my hat”
Communication is evident as the verb 'nodded’ acknowledges the unspoken words of the older persona.
This younger persona wears a 'hat' rather than a 'cap’ seeming to differentiate the two by gender.The
mimicking of the older persona's gesture presents a familiarity between the two, a sign language with
which they are both familiar. Dobson elicits the anomalies associated with non-verbal conversations, yet
reiterates their significance in provoking the imagination and the meaning behind body language.

“Childrens and fools may try/ That excellent old madman/ Wordless and wise, and I”
The adjectives used 'excellent and old' to describe the older man are affectionate and protective, despite
the reference to him being a 'madman'. The contrasts with this nomenclature and the alliterative
descriptive language of the final line 'wordless' and 'wise' infers that the speaker/poet realises that the
vignette she presents seems odd. The message is clear, however; the relationship is warm, locked in her
memory and the experiences shared are part of the 'thread? that connects us if we allow ourselves to have
conversations of the spirit rather than searching for words to express the mundane.
Possible Conclusion
Dobson’s poems facilitate means of connection through humanity in expression of the personal and the
shared nature of life’s enigmatic qualities. Encouraging the audience to reflect upon past experiences and
celebrate the memories intertwined with nostalgia. In her poems, Young Girl at a Window, Summer’s End
and Amy Caroline, she constructs a diverse set of personas each faced with the challenges of life and yet
choose to accept such moments of growth and change to improve upon themselves. Utilising
confrontations with the passing of time and memories to reiterate the understanding of the human
condition being enhanced through reflection and self-assessment. The human experience is enlightened
with sublime joys and losses and as individuals become more informed as they engage with experience,
even if it lies outside the paradigms of societal expectations.
FREE THESIS STATEMENTS
● Texts represent how human experiences are dependent on one’s context and their ability to
transcend the limitations of context
● Texts about human experience invite the audience to contemplate on their own experiences and
reflect on the processes that shape their identity
● Human experiences may be recursive but they are transformative nonetheless
● Texts offer a representations of human experience that challenges our assumptions and thus
intensifies our awareness of self and others
● Representation of relationships in texts highlight the way in which human experiences may differ
in varied interactions
● Texts offer a representation of the human experience to record the social and emotional
development of the individual and the collective
● Our experiences expose our capacity for fortitude and focus, particularly when our individual
ideals are challenged by contextual values / societal expectations