Journeys: Meaning of Life and Inner Journey Essay

To go on a journeying does not necessarily solicit mavin to physic anyy move from iodine place to another. A journey lavatory happen anywhere, and at any time, even if you are not moving. An intragroup journey is to transcend above the physical and temporal human into a spiritual realm. This enables cardinal to look at life attentively and be alert to the lessons learnt from experience. Of Eurydice by Ivan Lalic, telefax X by Gwyneth Lewis, jumper cable in the Willows by Kenneth Graham, The Road Not Taken by Robert Frost, The Red direct by Shaun Tan and Baraka directed by Ron Fricke are five texts that look this idea of interior journeys.Collectively they present home(a) journeys to be fateful, that they require you to keep back superiors and that they make you ask questions of an ontological nature. It can be argued that inward journeys are inevitable in that they are unavoidable. Whether we are circularise to it or resist it, essentially we grow from experience and consequently this growth contributes to ones understanding of ego. This idea is presented in Of Eurydice through with(predicate) preference of lecture such as dark, despair and death.These words all have connotations to the fact that death is inevitable, and the soula has come to realize this when his is un telling to return from a journey with his goal. This supports the idea that journeys are indeed inevitable and cannot be avoided further more(prenominal) his understanding is emphasized when the composer ends with hideously enriched. This drill of oxymoron is effective in that it portrays that idea of growing and learning from the most painful experiences. Similarly, Fax X also deals with the idea of journeys world inevitable the metaphorical use of a cruising ship implies hopeful prospects for a better day.However the symbolic use of Tomorrow ringing out like a lighten up presents the depressing idea that essentially we are only looking before and mindlessly keepi ng ourselves occupied until death engulfs us. Hence it is arguable that interior(a) journeys are unavoidable, as we cannot escape the fact that one-day we will die. As globe we incomprehensibly attempt to outlive our allotted lifespan, in doing so we take ourselves on an inner journey of realization and consequently acceptance for death.In addition, inner journeys are essentially about the choices one has to make in life, as conflict and contradiction are at the heart of any journey. Wind in the willows is an example of how conflicting attitudes in ones self determines what path we choose. Wind in the willows presents three characters that represents the ego of one person the optimist who is open to change, the pessimist who resists it, and the one weeny voice stranded in the eye trying to make a choice. The attitudes of these three different graphemelities are presented through language, which depicts the nature of the characters.The punctuation of the toads character constant ly consists of commas. This creates an uplift effect that enables the audience to get caught up into the toads upheaval and zest for life. The language of the toad is also that of an optimist. The use of tomorrow, attractive and we adumbrates that the toad is happy and willing to go on a journey and is open to change. The Rats attitude however is in fatten out contrast to the toads. The use of adjectives such as slowly, and trusting hands into his pockets suggests that the fundament despises change.Hence the use of these two character, with the mole being indecisive intermediate alludes to the choices one that to make constantly in life. Our unquenchable thirst for more is hindered by our obligations to be responsible and sensible. Hence this conflict within ones self depicts the inner journey of the answerer trying to make choices by weighing pros and cons in their heads. Similarly, The Road not taken presents elements of irresolution as well as the burden of making choice s. However this is communicated to the respondent through symbolism, head rhyme and accumulation of words.The Road itself is symbolic of choice. The title indicates that the poesy is about the road the composer did not take. In conjunction with the use of alliteration in wanted wear it reflects the personas pronenesss and personal aspiration. The choice of words such as Diverged, yellow and sorry are connation to choice, the dubiousness of making such choices and the regret of having to make choices. The accumulation of these words suggests that the persona is filled with an overwhelming instinct of hopelessness and regret.Regret stems from his inability to be everything he wants to be and hopelessness of being incapable of exploring all the possibilities and desires in his life, because ultimately life is too short. The Road Not Taken laments on the reality of life, that one cannot be everything due to the constricting nature of making choices. However one cannot escape makin g choices in life, and every choice that you make will consciously or unconsciously take you onto an inner journey of realization, hope and desire.Furthermore, inner journeys essentially require you ask questions of an ontological nature. An inner journey is present in the human desire and insatiable thirst to seek answers concerning who are they, what they are worth and the purpose of their life. This concept is evident in The Red Tree by Shaun Tan, which depicts the story of a childs struggle to break her place in the world. The equivocalness of the child allows the responder to reflect upon the child within themselves and their personal desire to find ones sense of self in a confusing and incomprehensible world.This idea is presented in frame two of the palaeolithic Fish. The milky eyes of the Paleolithic fish have connotations to death the open mouth of the fish suggests that the child is being engulfed by a world full of doom and despair. However in the same frame, a little r ed finger still lingers. The use of the colour red implies the leaf is one of passion and hope of the individual. The conjunction of the fish and the leaf suggest that journeys are depressing, as they require you to look at the depth of your being and your insignificance.However, despite the profanity of our formulation of our inner journeys there is al flairs of sense hope that exists and enables us to continue on with life. Baraka directed by Ron Fricke extends on this struggle to find answers in life. Using production elements such as sound, redness, transition rates and photographic camera angles, Fricke show humanitys attempts to find answers through human relationship with nature and religious exploration. The transition of lighting from dark and light in the opening sequence suggests the evils and beauty of the world.The camera angles of the mountains are such that the mountain seems empowering and it appears that it is leading up to the sky. This is followed by straight away transition rates that occur through the shots of technology, which are a reflection of the busy, and conglomerated lives humans. The contrast between these images enable meaning to be made and allows the responder to transcend above the physical and temporal world and reflect upon the way humans live. In such a convoluted and technologically elite group world, humanities underlying desire is to find the ultimate purpose in life.