The Implicit Connection between the Natural World and the Inner world of Feeling
The natural world provides an intimate link to the inner world of feeling, when one engages with
the intersection between them. Nature stimulates a developed sense of solitude and self-
reflection separate from broader society, or rather, the outer world. Thus, the natural world
forms a unique bridge to the inner world, but as this prolongs, the distinction between them
diminishes.
This notion is explored throughout literature, as seen with Daniel Nettheim’s Australian drama,
the Hunter (2011) and Robert Frost’s poem Stopping by Woods on a Snowy Evening (1923).
The bridging of these worlds is a key element to both texts, which is explored in varying ways.
The Hunter suggests that the intersection between civilisation and nature initially opens the
inner world of feeling. As Martin embraces his emotions throughout the film, his relationship with
nature shifts, becoming more invested in it as an entity rather than its relationship to him as a
hunting ground, evident through comparison of his trips. In his first trip the panoramic
establishing shot , accentuates the beauty of the scenery, which is furthered through the slow
aerial camera movements. Martin, however, regards the land with professionalism, symbolised
through the contrasting montage depicting him establishing his hunt. The body shots as he
walks and his central placement in the frame indicates his perception of nature evolving around
its relation to him. In addition the lack of non-diegetic music (contrasting to the previous scene)
suggests he does not feel a spiritual relationship. This is reinforced with the gunshot penetrating
the silence.
Nettheim indicates a change in these attitudes when Martin decides to kill the tiger for its own
benefit, valuing it as a living creature. In the climactic killing scene, the tiger’s appearance is
accompanied by ethereal non-diegetic music, contrary to the earlier scenes. When Martin raises
the gun a series of cuts between him and the tiger symbolise his hesitation, emphasising his
change in morality. In the close up of the dead tiger, the salient image of Martin’s hand on it
suggests his found connection to nature and acknowledgment of his inner feelings. This is
reinforced when he crumples next to the tiger, with the use of pathos emphasising his
developed emotional range. Also, note that there is little focus on the death of the animal, with
the contrast between the blood and snow muted, thus it serves more as a symbol of loss. This is
maintained with the following shot of Martin carrying it into the fog, the metaphorical afterlife.
Summarily, Martin’s developed appreciation of nature has allowed him to acknowledge his
emotions, thus connection the natural world to the inner one.
Frost’s poem resonates with the idea of the developing connection between these worlds,
extending it to show the natural world as symbolic of the inner world of feeling. In the poem, the
speaker is lulled to sleep by the hypnotic woods, allowing them to explore their feelings through
their subconsciousness. Their emotional state is seen to subtly shape their interaction with
nature. The use of interior monologue shows the subject is the speaker, but they instead talk
about the scene around them, “between the woods and the frozen lake”, suggesting their inner
thoughts are realised by projecting them onto the landscape. The speaker’s feelings of
The natural world provides an intimate link to the inner world of feeling, when one engages with
the intersection between them. Nature stimulates a developed sense of solitude and self-
reflection separate from broader society, or rather, the outer world. Thus, the natural world
forms a unique bridge to the inner world, but as this prolongs, the distinction between them
diminishes.
This notion is explored throughout literature, as seen with Daniel Nettheim’s Australian drama,
the Hunter (2011) and Robert Frost’s poem Stopping by Woods on a Snowy Evening (1923).
The bridging of these worlds is a key element to both texts, which is explored in varying ways.
The Hunter suggests that the intersection between civilisation and nature initially opens the
inner world of feeling. As Martin embraces his emotions throughout the film, his relationship with
nature shifts, becoming more invested in it as an entity rather than its relationship to him as a
hunting ground, evident through comparison of his trips. In his first trip the panoramic
establishing shot , accentuates the beauty of the scenery, which is furthered through the slow
aerial camera movements. Martin, however, regards the land with professionalism, symbolised
through the contrasting montage depicting him establishing his hunt. The body shots as he
walks and his central placement in the frame indicates his perception of nature evolving around
its relation to him. In addition the lack of non-diegetic music (contrasting to the previous scene)
suggests he does not feel a spiritual relationship. This is reinforced with the gunshot penetrating
the silence.
Nettheim indicates a change in these attitudes when Martin decides to kill the tiger for its own
benefit, valuing it as a living creature. In the climactic killing scene, the tiger’s appearance is
accompanied by ethereal non-diegetic music, contrary to the earlier scenes. When Martin raises
the gun a series of cuts between him and the tiger symbolise his hesitation, emphasising his
change in morality. In the close up of the dead tiger, the salient image of Martin’s hand on it
suggests his found connection to nature and acknowledgment of his inner feelings. This is
reinforced when he crumples next to the tiger, with the use of pathos emphasising his
developed emotional range. Also, note that there is little focus on the death of the animal, with
the contrast between the blood and snow muted, thus it serves more as a symbol of loss. This is
maintained with the following shot of Martin carrying it into the fog, the metaphorical afterlife.
Summarily, Martin’s developed appreciation of nature has allowed him to acknowledge his
emotions, thus connection the natural world to the inner one.
Frost’s poem resonates with the idea of the developing connection between these worlds,
extending it to show the natural world as symbolic of the inner world of feeling. In the poem, the
speaker is lulled to sleep by the hypnotic woods, allowing them to explore their feelings through
their subconsciousness. Their emotional state is seen to subtly shape their interaction with
nature. The use of interior monologue shows the subject is the speaker, but they instead talk
about the scene around them, “between the woods and the frozen lake”, suggesting their inner
thoughts are realised by projecting them onto the landscape. The speaker’s feelings of
