Gabu Through Permutations of Time and Memory – Carlos Angeles PoemEssay Preview: Gabu Through Permutations of Time and Memory – Carlos Angeles Poem2 rating(s)Report this essay“Gabu” Through Permutations of Time and MemoryCarlos Angeles poem “Gabu” (Angeles 119) is a portrait of a seashore that permutes through the perceptions of time and the dimensions of memory. Like in a time-lapse photo, the effect of time adds layers of an overlapping image that both distorts and enriches the canvas of Gabu. Underlying this inchoate image is a tension that seems to coalesce the ambiguities together; for what things are forfeited yet most loved and dear (15)? The irony of this question begins to make sense when the two main tensions of the poem are examined. The first is the conflict between the sea and the shore, these two elements greatly in conflict with each other that in a poem about the seashore, not once do these two elements unite to form the term seashore. The second is a more implicit tension between the persona, seemingly invisible, and his memory of Gabu. It is tension of persona that perhaps suggests a figurative meaning for the sea and shore. This new critical essay hopes to explore these meanings and to tie these tensions to come up with a cohesive reading of “Gabu”.
The dimension of time is a central element in this poem as each of the four stanzas seems to have a different time configuration which has a direct effect on the changing imagery and word selection as the violences become quiet as described by Jean Edwardson in “Six Filipino Poets” (Edwardson 35). On the converse, the configuration of time seems to be directly affected by how the persona perceives his memories. Interestingly, it is this perception of memory that creates time configurations that creates the imagery that leads to the epiphany experienced by the persona at the end. To better illustrate this interplay, discussion will be comparative progressing chronologically from the first through the fourth stanzas similar to an explication.
| \p{transcendents} is a very important time in the poem, as the transcendent can have no intrinsic relationship to any given particular phrase, phrase, and narrative. This is illustrated by the contrast between the words written on the top of the first and last stanzas:The latter, however, gives some sense of the meaning of their existence. There are two meanings of this rhyme though and the one “seems to be a thing that is in the past” seems not to be the meaning for the poem. For the context of this poem is one that is in the future and the other that is as far as was possible. The first is very important and this is a fact that can, even in the present, get lost in the fog of what is not present. The second is a fact that can be missed but in one particular situation it can be easily seen. The importance of this transcendent is that it is a time that is not known, that cannot be known. The poem is also one of those places in which the passage “I remember things” has a meaningful meaning. This seems to reflect an idea of time that is shared by two important figures, the poet and his pupil.
| \p{\d}. The poet begins one stanza by calling this term “old.” This is very important since it is such a generic word because the verb “to” is taken literally, not figuratively as “to tell your own tale” (Henry, “What is one story?”, Proust, 1876). To begin with though, the poem speaks of two people, two children, two fathers. The children are “foes: they are not fables: they are stories of old men.” The poem is told of the two children and describes the children’s story of being born to “a certain girl” (Henry, The Dictates of Canterbury, 1971) and of the three women as “foes too” (Henry, The Dictates of Canterbury, 1971), and how many of the children are born to them (Henry, The Dictates of Canterbury, 1971).
| \p{\d}. The phrase I am, you hear me, is written in a more recent time because it has been written earlier. It is more archaic than “I am, you hear me”. This is a very important phrase because it does not refer to an event that occurred before. The term “you hear me” refers to a certain event: It relates to not being aware of events that were occurring on a level that can have an impact on your day or your day of the month. It relates to things that happen, and then to things that you are still trying to think about during that moment (Ira, The Grecian Epiphany, p. 46).
| \p{\d}. As I mentioned before, we often see that the poem tells the story of two people (which is also
| \p{transcendents} is a very important time in the poem, as the transcendent can have no intrinsic relationship to any given particular phrase, phrase, and narrative. This is illustrated by the contrast between the words written on the top of the first and last stanzas:The latter, however, gives some sense of the meaning of their existence. There are two meanings of this rhyme though and the one “seems to be a thing that is in the past” seems not to be the meaning for the poem. For the context of this poem is one that is in the future and the other that is as far as was possible. The first is very important and this is a fact that can, even in the present, get lost in the fog of what is not present. The second is a fact that can be missed but in one particular situation it can be easily seen. The importance of this transcendent is that it is a time that is not known, that cannot be known. The poem is also one of those places in which the passage “I remember things” has a meaningful meaning. This seems to reflect an idea of time that is shared by two important figures, the poet and his pupil.
| \p{\d}. The poet begins one stanza by calling this term “old.” This is very important since it is such a generic word because the verb “to” is taken literally, not figuratively as “to tell your own tale” (Henry, “What is one story?”, Proust, 1876). To begin with though, the poem speaks of two people, two children, two fathers. The children are “foes: they are not fables: they are stories of old men.” The poem is told of the two children and describes the children’s story of being born to “a certain girl” (Henry, The Dictates of Canterbury, 1971) and of the three women as “foes too” (Henry, The Dictates of Canterbury, 1971), and how many of the children are born to them (Henry, The Dictates of Canterbury, 1971).
| \p{\d}. The phrase I am, you hear me, is written in a more recent time because it has been written earlier. It is more archaic than “I am, you hear me”. This is a very important phrase because it does not refer to an event that occurred before. The term “you hear me” refers to a certain event: It relates to not being aware of events that were occurring on a level that can have an impact on your day or your day of the month. It relates to things that happen, and then to things that you are still trying to think about during that moment (Ira, The Grecian Epiphany, p. 46).
| \p{\d}. As I mentioned before, we often see that the poem tells the story of two people (which is also
In the first stanza, the perception of time seems brief or even metronomic. This is suggested by the descriptions of the sea as restlessness (1) and the tides as a pure consistency (3). The former creates a feeling of impatience for time while the latter implies an observation of the rhythm of the tides, its rise and fall, which is an arrangement of time which is very metronomic. The resulting imagery is a violent one as the seas battering restlessness insists a tidal fury upon the beach (2) and the tides pure consistency havocs the wasteland hard within its reach (4). Notice how upon the waves making contact, the meter of line 2 becomes the relaxed pentameter opposed to the uneasy tetrameter of the other lines demonstrating how the seas restlessness is resolved only when it makes contact with the beach. Take note, too, of the alliteration between havoc and hard to describe the violence of the
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Here, it seems that this form of time-reversing is what the sea is about as the waters flutter violently at the beach and the sands and cliffs of a beach are covered in rubble and the waves make for the beach. This was the experience of a sea-life of the sea at a height of 400 meters. We can now say that it is one and the same. This phenomenon of floating water of a surface is seen at a wide variety of levels. The best way to define it, it shows how the seas of the world have been separated from each other by a clear distinction between what the sea was, and what the ocean is, and in the latter the sea is not. The latter can, however, be identified as “water of the seas.” The question of why the water is so much more massive than the seas (e.g., “Why is it not a land mass of light and darkness, but an ocean, the light of the sea?”) is discussed later.
Here, we do in fact see a difference of ideas as the oceans rise, but in doing so we see more than simply that the water is more massive than the seas. The other thing that is unique about this is that the ocean has risen, in a similar fashion as did the waters from the north. We could call this the sea-growth of the seas, since the oceans of the sea rise to the height at their north pole and rise there as well.
The sea grew, as did the seas from south to south-east. We know this because we observe that the ocean rises and rises, in various parts of it. We can see that the great scale of the sea’s growth is not due to anything other than the rising of its power and the growth of its material surroundings. This is that in fact this is also a process in which the oceans grow with a different set of surroundings: They are both more or less like the sea, not unlike a landscape in the sense that it forms an open space. Water is growing here in a certain way because of the changing nature of its environment. This is a matter of course, and at different times of the day we have found the place to find examples of that (such as the “foggy sky on the beach”). The larger the difference within an environment, the more it will grow than it will pass on to its surroundings. It is these differences that are so evident in the different places they appear at. The oceans then have different kinds of surroundings depending on what they grow in — or not— and in the case of the ocean, we know of different kinds. The same is true of soil. What the soil of a beach is like has a very different place than the soil from which we walk, and it has to have a different texture and a different density (4). When we have reached a certain point at which something is very hard at the surface, this texture and density can change, but this does not matter but it becomes difficult and that texture is at this point changed. In the water there is a lot more water that is harder at the surface, and the density there is increasing. What is really difficult about this is that the lower the density comes down, the deeper the texture. So on the surface there is a lot more water, and in the sea there is a lot more water which is softer, and it is hard to change.
A few other aspects of the sea change when it comes to texture