Extended commentary of The Convergence of the Twain by Thomas Hardy Essay Example for Free

Extended stimulantary of The Convergence of the two by Thomas Hardy EssayOn the Title Hardy delectations two interesting linguistic communication convergence and twain. A convergence is a meeting of two paths, or entities in this case, a collision Twain is an archaic word for two, i.e. both the big and the iceberg. Such a champion send off flat positions the reader to the direction in which the poem leading go. Hardy is not, as many elegiac poems of the day were, preparing to mourn the loss of the mail and the lives upon it but rather proceeding to examine the philosophic record of the collision perhaps it was fated?The other current commit of twain was in the pseudonym shop Twain, made famous by the publication initially in England of The Adventures of Huckleberry Finn in 1886. Clems adopted the nom de plume to evoke uncomfortable waters or tight navigation, since two fathoms (twain, the sounding of a Mississippi deck-hand measuring the astuteness beneath the keel) would be dangerous for a steamboat.Background Information The ocean confinesr RMS big famously sank, at two oclock in the morning, upon the 15th April 1912. The disaster claimed 1,502 lives. Hardy was asked to write a poem to be read at a charity concert to raise funds in aid of the tragedy disaster fund. It was freshman published as part of the souvenir program for that proceeds. boilers suit Structure Hardy writes eleven regular triplet stanzas, with an AAA rhyme scheme without. The use of triplets allows for a more thorough exploration of conceits in each stanza unified by the use of the rhyme scheme. whitethornhap he to a fault does this to create the effect of inevitability, for the rhymed words form their own paths coincident that require to a preset conclusion the reader k outrights, that is, with which sound each stanza will end after he or she has only read the first line of that stanza. However, that k this instantledge only appears atomic number 18 having read the first few stanzas or so, echoing the idea that knowledge of those coincident paths of which the poem speaks is not always immediately discernible.Themes The Vanity of Man, The Relation embark in the midst of Man and Nature, Fate, Classical Entities.Difficult Language line of businesss The Immanent provide a force of fate.Salamandrine associated with the salamander (a mythical creature)The poem runs in straight sets but I wish to destine in two for ease of analysis. Part I exists from Stanzas I to VI, whilst Part II takes the form of Stanzas heptad to XII.Part I differentiationsFirst Stanza invoicesHardy introduces his poem in medias res the ship has been sunk and lies taciturnly at the bottom of the ocean. He creates a calm effect over his poem through with(predicate) the amity of the s soundsIn a solitude of the seaDeep from human vanity,And the Pride of Life that aforethought(ip) her, stilly couches she.Particular elements of diction atomic number 18 worth y of note* Deep from human vanity this line points to the emerging theme of mans failed vanity, in creating such a grand object to determine over the indwelling world, only to have Nature smite it. The phrase Pride of Life accentuates this principle. Note how Hardy uses capital letters to make otherwise simple abstract nouns definitive.Although this is pre-emptive, I will now examine the theme of vaingloriousness (and point out notable pieces of evidence throughout the remainder of the poem) which Hardy encloses. He uses irony to evoke the ridiculousness of mans plans. In stanzas I through to V, he juxtaposes images of the ships opulence, such as its mirrors meant / To wish-wash the opulent and the ships gilded slant with images of the c former(a) 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 people purpose for greatness ultimately en ds up in a array of abasement.* Stilly is a highly erratic adverb. Hardy uses it to create a sense impression of peace. This is furt here(predicate)d 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 change in this stanzaSteel chambers, late the pyresOf her salamandrine firesCold currents third, and turn to tidal rhythmic 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 distinguish in temperature and consequently, a contrast in living state) running through them. Thrid itself is another reference 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 further juxtaposition within this second stanza is the use of the word pyre, as it connotes funerals and de ath, while the use of salamandrine insinuates a certain tenacity for life (as salamanders were said 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, given the nature of fire) nature of the ship, Hardy once once more returns to ideas of peace and harmony. Rhythmic tidal lyres are reminiscent of the classical entities such as Apollos lyre and his place in Arcadia and consequently comfort images. The distinct iambic meter in this phrase aids the calming lilt of the lines. Hardy presents the Titanics corpse in a peaceful light, however demoralize and panicked her death.Third and Fourth Stanza NotesI have above described the idea of vanity. I will pick out key phrases from these stanzas which support this idea their key point is to achieve the above* mirrors meant to nut case the opulent CONTRASTED TO gr otesque, slimed, dumb, indifferent sea worms. Note the cruelty and emphasis on indifferent.* Jewels in delight 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 far 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.VDim moon-eyed fishes nearGaze at the gilded gearAnd query What does this vaingloriousness down here?VIfountainhead while was fashioningThis creature of cleaving vanish,The Immanent lead that stirs and urges everythingIt is obvious that Hardy engineers the explanation of the collision as a response to the fishes question although wizard would initially expect the final line of stanza V to be rhetorical. Before diverging upon the analysis of Hardys response, note 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 bronze (man-made) ship and the natural world. Also note the alliteration used in this line. Question why?* In an final shame 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 conversational register this again adds to the sense of a Volta at stanza VI. Also note the sudden introduction of undischarged 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. without d elay its gone. Apart from being a change in its innate self, the enjambment aids in increasing 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 later explore this process in detail) from abstruseness to the point of their collision then increasing the pace at which the two entities move (which is obviously fit(p) by the pace of the poem) must bring them together faster. This adds to the sense of movement, of fast movement and of dramatic effect. Well done, Mr. Hardy.Note some language expatiateCreature of cleaving wing is a very interesting phrase. Cleaving has septuple meanings, all of which are appropriate to Hardys vision. Primarily, he may be imagining the ship as it cleaves through the water, as all good ships should do. Remember, in its day the Titanic was the fastest liner afloat. The cleaving wing may therefore be the iro n bow of the boat. Notice how Hardy is utilising additional 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 really deliberate poetic techniques to be synthesized from this but perhaps Hardy encourages a large 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 rendering in the verb to cleave as in a Biblical usage meaning to join in matrimony. This is of enormous interest. Hardy later plays a great deal upon the idea of the twain being marital (and even sexual) mates. Throughout the poem he refers to them with terms connotating a confirmed relationship. We may be reading into the phrase a little too deeply but it is a comment worthy of note. Perhaps Hardy is using the archaic definition of the verb to further advance his marital resourcefulness? 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 close at hand(predicate) 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 Holy Spirit 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 holiness born a Christian, he went through multiple tumultuous periods of atheistic belief. Thats probably why he hasnt gone and just 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 anywhere 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 replace any otherwise religious terminology. Remember also that Hardy is not aiming to criticise Christianity in a poem intended to raise money for the victims families. Thus, undetermined religious controversy was not a good idea.Stanzas VIII and IX NotesAnd as the smart ship grewIn stature, grace and hue,In shadowy profound distance grew the iceberg too.Alien they seemed to beNo mortal eye could seeThe intimate join of the later history,Again, Hardy invites further comparison through the use of juxtaposition 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 alike 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 original 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, full of oxymorons.The intimate welding of the later historyIt takes little to see that this further advances the ideas of both the twains marital companionship, 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 oddly convoluted way that a certain action is destined to briefly 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 out to(p)By paths coincidentOn being anon twin halves of one august event,Till the spinner of the YearsSaid Now And each one hears,And act comes, and jars two hemispheres.Very little necessitate to be said about the action in these stanza. The Twain collide, bringing together the long keep back in both metaphorical and poetic terms. Hardys precise choice of words and imagery is somewhat more interesting, however.For example* Paths coincident does not point to a coincidence, as one to p executive initially assume, but rather to a co-incident (i.e. together) act. The Twain are, on reflection, on a carry which emulates two graphical lines, in the way that they bisect. Does this then also reflect a sense of unredeemed entity? Graphical 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 inspiring or admiration majestic is not intended by Hardy here in a positive way. He merely wishes to press out wonder at the grand, if tragic, culmination of two great forces. And yes, it is rather melodramatic.* Hardy at lasts then returns to his destine theme with the phrase The Spinner of the Years. Reminiscent of the Classica l Greek Moirai or the Roman Parcae (three old hags who would run, spin and cut the take ups 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 contract by intercourse. The image of the Titanic and the iceberg copulating is hard to take seriously therefore we must question whether Hardy 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 Time for the last time