Extended commentary of ‘The Convergence of the Twain’ by Thomas Hardy Essay

On the perform hardy parts cardinal interesting speech communication convergency and suspender. A convergence is a meeting of two paths, or entities in this case, a impact Twain is an archaic name for two, i.e. both the titanic and the crisphead lettuce. Such a title immediately positions the reader to the direction in which the poem provide go. venturesome is non, as many elegiac poems of the twenty-four hour period were, preparing to mourn the loss of the ship and the lives upon it tho or else proceeding to analyze the philosophical nature of the collision perhaps it was muckled?The other trustworthy drill of twain was in the pseudonym Mark Twain, made famed by the publication initially in England of The Adventures of Huckleberry Finn in 1886. Clems adopted the nom de cop to suggest uncomfortable waters or tight navigation, since two fathoms (twain, the sounding of a Mississippi deck-hand measuring the depth beneath the keel) would be unplayful for a ste amboat.Background In potpourriation The ocean limitr RMS large excellently sank, at two oclock in the morning, upon the 15th April 1912. The calamity claimed 1,502 lives. courageous was asked to write a poem to be read at a charity c oncert to raise funds in fear of the tragedy disaster fund. It was first published as part of the souvenir program for that event.Overall Structure Hardy writes eleven regular three both(prenominal) stanzas, with an AAA create verbally scheme through divulge. The utilization of triplets allows for a more thoroughgoing exploration of suppositions in each stanza unified by the use of the rhyme scheme. perchance he also does this to create the effect of inevitability, for the rhymed words form their own paths coincident that lead to a preset deduction the reader k straighta offices, that is, with which sound each stanza bequeath devastation after he or she has exactly read the first line of that stanza. However, that knowledge only appears be having read the first few stanzas or so, echoing the topic that knowledge of those coincident paths of which the poem speaks is not always immediately discernible.Themes The self-esteem of humans, The Relationship in the midst of Man and spirit, Fate, Classical Entities.Difficult Language Notes The indispensable Will a military unit of fate.Salamandrine associated with the salamander (a mythical creature)The poem runs in straight sets only I wish to divide in two for ease of analysis. Part I exists from Stanzas I to VI, whilst Part II takes the form of Stanzas VII to XII.Part I NotesFirst Stanza NotesHardy introduces his poem in medias res the ship has been sunk and lies profoundly at the groundwork of the ocean. He creates a calm effect over his poem through the union of the s soundsIn a solitude of the seaDeep from human race vanity,And the Pride of Life that planned her, stilly couches she.Particular elements of diction argon worthy of note* Deep from human va nity this line points to the emerging theme of mans failed vanity, in creating such(prenominal)(prenominal) a lordly object to rule over the natural world, only to know Nature smite it. The musical phrase Pride of Life accentuates this principle. Note how Hardy uses superior letters to make otherwise simple abstract nouns definitive.Although this is pre-emptive, I will now visit the theme of vaingloriousness (and point out notable pieces of diverseiate throughout the remainder of the poem) which Hardy presents. He uses irony to evoke the fatuity of mans plans. In stanzas I through to V, he juxtaposes word-paintings of the ships opulence, such as its mirrors meant / To glass the opulent and the ships gilded deliver with images of the cold currents, sea-worms and moon-eyed fishes that now flow, crawl and swim through those former interiors. This creates a tangible image of the human vanity referred to in this first stanza what mickle design for greatness ultimately ends up in a impersonate of abasement.* Stilly is a highly unusual adverb. Hardy uses it to create a sentience of peace. This is unlessed by solitude and couches. Couches suggests restfulness, or an equanimity. S.L.S considers an image of a death bed upon the sea floor.Second Stanza NotesHardy focuses upon images of death and diverseness in this stanzaSteel chambers, late the pyresOf her salamandrine firesCold currents third, and turn to tidal danceable lyres.The furnaces of the ship, which contained the salamandrine fires of her engines (a form of LIFE), now have Cold currents thrid (note the a contrast in temperature and consequently, a contrast in living state) running through them. Thrid itself is other deem of facts to the title, as an archaic word for two. Where there was once heat and life driving the engines of the ship, there is now coldness and death. A only juxtaposition within this second stanza is the use of the word pyre, as it connotes funerals and death, while t he use of salamandrine insinuates a certain tenacity for life (as salamanders were chat to live through fires) that could be associated with the Unsinkable Ship idea there was a theory prior to the sinking, now tragically ironic, that the Titanic was unable to sink.Yet, for all of the tragic (or formerly energetic, accustomed the nature of fire) nature of the ship, Hardy once again returns to ideas of peace and harmony. Rhythmic tidal lyres atomic number 18 reminiscent of the classical entities such as Apollos lyre and his place in Arcadia and consequently calming images. The distinct iambic meter in this phrase aids the calming lilt of the lines. Hardy presents the Titanics frame in a peaceful light, however chilling and panicked her death. 3rd and Fourth Stanza NotesI have above described the idea of vanity. I will pick out diagnose phrases from these stanzas which support this idea their key point is to achieve the above* mirrors meant to glass the opulent CONTRASTED TO grotesque, slimed, dumb, indifferent sea worms. Note the cruelty and emphasis on indifferent.* Jewels in gratification designed CONTRASTED TO lie lightless, all their sparkles bleared and black and blind Note the use of polysyndeton.* gilded gear. Note alliteration.Fifth and Sixth StanzasThus further Hardy has thoroughly examined the idea of vanity and the sunken ship itself. At stanza VI, Hardy changes his focus to the process by which the ship sank, in reference to Hardys question formulated in stanza V.V disgraceful moon-eyed fishes closelippedGaze at the gilded gearAnd query What does this vaingloriousness set ashore here?VIWell while was fashioningThis creature of cleaving wing,The native Will that stirs and urges everythingIt is obvious that Hardy engineers the explanation of the collision as a response to the fishes question although unmatched would initially expect the final line of stanza V to be rhetorical. Before diverging upon the analysis of Hardys response, not e some key elements of this stanza* moon-eyed (white and dull) contrasts with the shiny, golden nature of the gilded. This accentuates the differences between the metallic (man-made) ship and the natural world. also note the alliteration utilize in this line. Question why?* In an final assault on the vanitas vanitatum, observe that Hardy utilises anthropomorphisation to allow even the fish to question Mans will in creating such vaingloriousness a Natural force (perhaps a personification of Nature itself?) labels the ship a vanity. What consequence does this have?This query, although appearing rhetorical, is answered by Hardy. Denoted by the use of Well, he switches to a colloquial register this again adds to the sense of a Volta at stanza VI. Also note the sudden introduction of prominent enjambment at the end of the poem.The sense of stanza VI rolls into the VIIth, in direct opposition to the previous use of poetic closure to end all previous stanzas Hardy normally uses a form of punctuation. Now its g angiotensin converting enzyme. Apart from being a change in its innate self, the enjambment aids in increase the pace of the poem. This is highly significant. Seeing as, from this point forth, Hardy creates a convergence of the twain within the poem itself i.e. he brings the two entities together (I will afterwards explore this process in detail) from obscurity to the point of their collision then increasing the pace at which the two entities move (which is manifestly de marginined by the pace of the poem) moldiness bring them together faster. This adds to the sense of movement, of fast movement and of dramatic effect. Well d bingle, Mr. Hardy.Note some oral communication detailsCreature of cleaving wing is a very interesting phrase. Cleaving has ninefold meanings, all of which are appropriate to Hardys imagery. Primarily, he may be imagining the ship as it cleaves through the water, as all penny-pinching ships should do. Remember, in its day the Titanic was the fastest liner afloat. The cleaving wing may therefore be the iron bow of the boat. Notice how Hardy is utilising supererogatory anthropomorphisation, in referring to the ship as both a creature and one with wings. The iceberg, however, remains inanimate. I doubt that there are any real deliberate poetic techniques to be synthesized from this but perhaps Hardy encourages a larger empathic response from the animate ship than from the inanimate iceberg?However, we must also acknowledge the metallic knife-like associations with cleaving like cleaver. This has a highly inanimate connotation. Another weak point, acknowledged.There also exists an archaic description in the verb to cleave as in a Biblical rule meaning to join in matrimony. This is of enormous interest. Hardy later plays a great deal upon the idea of the twain being matrimonial (and even sexual) mates. Throughout the poem he refers to them with terms connotating a support relationship. We may be read ing into the phrase a fine too deeply but it is a comment worthy of note. Perhaps Hardy is using the archaic definition of the verb to further advance his married imagery? He is certainly no stranger to using such odd vocabulary observe The Darkling ThrushFinally, I wish to examine The Immanent Will. Immanent is not an archaic spelling of imminent do not get confused in terms of these different words The Immanent Will is somewhat comparable, in terms of a philosophical idea, to the Christian concept of the sacred warmheartedness or Holy Ghost. It is a spiritual, but existent, entity within every object which determines its fate or actions. Christianity has branches notably in Catholicism which believe in a pre-determined plan, of Gods design. In other words, we are all on a plan set out by God. The Holy Spirit helps us to achieve what God wishes it provides inner strength and resolve.Hardy did not have an easy relationship with religion born a Christian, he went through multip le tumultuous periods of atheistic belief. Thats probably why he hasnt gone and bonny written God, or some deified entity, has allowed and planned for the demise of this here ship. And thats why the iceberg, which could have been anyplace in a 3,000 mile radius of the vast Atlantic Ocean, just so happened to strike the ship. Deal with it.So, instead, he has substituted a strictly non-religious term to his idea of Fate. Indeed, he later refers to the Classical Fate entities to again knock back any otherwise religious terminology. Remember also that Hardy is not aiming to criticise Christianity in a poem intended to raise specie for the victims families. Thus, distinct religious controversy was not a good idea.Stanzas 8 and IX NotesAnd as the smart ship grewIn stature, grace and hue,In shadowy silent distance grew the iceberg too.Alien they seemed to beNo mortal eye could seeThe intimate welding of the later history,Again, Hardy invites further comparison through the use of juxta position he now places the two entities in a relative time scale. The use of the word as creates this effect, as it brings almost a simile-esque comparative sense to the stanzas. We must focus on the idea of the twain growing as that is the image which Hardy evokes and the way in which both are joint in the use of the same verb. The obvious mental image is one of a familial relationship they grow simultaneously but are fatally unaware of each other. Indeed, the distance between them is made explicitly clear and further emphasized by the alliteration used with shadowy and silent.Observe, in the phrase In stature, grace and hue, Hardy returns to the trustworthy theme of the ships grandeur. He appears, in this occurrence, to be rather more commending (or perhaps simply more mournful) of the ship and its purpose.Stanza IX further dwells upon the notion of fate. Indeed, Hardy utilises some more imagery worthy of note, ample of oxymorons.The intimate welding of the later historyIt tak es little to see that this further advances the ideas of both the twains marital intimacy, of the metal-related imagery associated with the ship, but also, in the final few words, the idea of Fate.If one can know, in the present, the details of the futures past in other words, the near future then surely one is saying in an fishily convoluted way that a certain action is destined to presently take place? Its an oxymoronic (later history is oxymoronic in my book) way of saying the same as before the twain are destined to collide.Stanzas X and XI NotesOr sign that they were bentBy paths coincidentOn being anon twin halves of one imperious event,Till the Spinner of the long timeSaid Now And each one hears,And consummation comes, and jars two hemispheres.Very little needs to be said about the action in these stanza. The Twain collide, bringing together the foresighted wait in both metaphorical and poetic terms. Hardys precise choice of words and imagery is somewhat more interestin g, however.For modeling* Paths coincident does not point to a coincidence, as one index initially assume, but rather to a co-incident (i.e. together) act. The Twain are, on reflection, on a course which emulates two graphical lines, in the way that they bisect. Does this then also reflect a sense of Fated entity? graphic lines do not change, thus their collision is determined and sealed.* Twin halves of one august event reminds the reader of the action and precise existence of the collision. In the end, the act was a very physical, not philosophical one. Hardy acknowledges this, but attempts to draw out the unified nature of the Twain, in the intrinsic act of their collision. Note that the usual use of august to mean awe excite or admiration majestic is not intended by Hardy here in a positive way. He merely wishes to express wonder at the grand, if tragic, culmination of two great forces. And yes, it is rather melodramatic.* Hardy at get goings then returns to his Fated theme with the phrase The Spinner of the Years. Reminiscent of the Classical Greek Moirai or the Roman Parcae (three old hags who would run, go around and cut the threads of life), Hardy refers to the middle of the three the Spinner. Spinning a mortal thread has always occupied a position in mythology. Hardy utilises it to draw out a sense of fate. Fate itself conducts the affair, it seems, given that the Twain act upon the word Now to converge.* Emerson Brown, scholar of medieval literature, pointed out that the poem is 33 lines long, whilst line 33 echoes the 33-year-old Christs last words consummatum est. In any case, when consummation comes, Thomas Hardy sends 1,500 souls to the bottom with an obscene pun. To come has borne a sexual connotation since the 17th century, at least, while consummation traditionally means the fulfilment of the marriage pact by intercourse. The image of the Titanic and the iceberg copulating is hard to take soberly therefore we must question whether Har dy truly intends it. Nevertheless, it advances the idea of the twain existing in a marital bond.Note the sudden use of speech, in the present tense. Very dramatic. Brings the Twain together in succession for the last time