An Analysis Of Thomas Hardy’s Poem “The Convergence Of The Twain’’ - 1375 Words

An Analysis Of Thomas Hardy’s Poem â€Å"The Convergence Of The Twain’’ (Other (Not Listed) Sample) Content: University: Instructor: Course: Date: The Convergence of the Twain Thomas Hardy’s â€Å"The Convergence of the Twain’’ narrates the fall of the Titanic, poetically explaining the splendid ocean liner. On the other hand, he also talks about the ship’s physicality, using the occasion to symbolize damage through divine and natural ways. In this sense, the tragedy is shown as an external clash between an iceberg and a boat, but symbolically embodies the man’s opposition to God and nature making the speaker to possess a critical tone towards hubristic humanity. In verse 1, we meet the Titanic (not named) stilly couched on the seabed (Hardy 71). Instantly, one notices that the verse’s shape takes a likeness like that of a liner. Then we encounter the liner, in a solitude of the sea/Deep from human vanity/ and the pride of life that planned her, stilly couches she (Hardy 71). In this scenario, Hardy compels us to identify the curre nt wreck on the seabed and the difference with the entire pride and vainglorious assertions of the vessel. The vanity expressed here is not an inclination to view yourself in the mirror. It is the eventual emptiness and worthlessness of worldly things, as it is impossible for you to go with them to heaven when you pass on. Pride of life possesses some Biblical connotations. St John’s letter of the New Testament asserts that everything that is on earth, the desire of the flesh, and eye’s desires, and the pride of life, do not belong to the Father, but are earthly. And the earth passed on. Thus, the tendency of human to glory arrogantly in material attainments is to the point of becoming nothing, like the Titanic’s wreck upon the seabed demonstrates. The second stanza specifies some of the confounding engineering accomplishments within the Titanic’s engine room: Steel chambers, late the pyres/ of her salamandrine fires (Hardy 71). In this sense, the chambe rs are spaces within the mechanism, while late stands for recently. Pyres re big fires which produce enormous heat; they were utilized at funerals within places such as India for smoldering the body. Funeral pyres, normally upon boats set for the floating purposes formed portion of the Viking culture. Therefore, pyre signifies well-known fire and heat within the engine-room, but as well predicts the demise, the Titanic’s sinking. On the other hand, the salamander is a lizard’s species; in accordance with the tale, it could stay in fire. Therefore, the chosen words by Hardy emphasize the vessel’s majestic status; it was virtually becoming a legend within its splendor and capability to survive all the risks. But the term late in the first line underscores all this glory; till lately, this splendor was to be glimpsed, but presently cold currents sound and become rhythmic tidal tyres (Hardy 71). The lyres played by the currents of the sea sound like a version of a marine or the lyre that the breezes play. This was a romantic perception, but nothing romantic concerning the Titanic’s wreck with cold rush plying via the steel chambers. Hardy also illustrates the way the ship appears in the portion of the poem. In a sense, the poet illustrates that the ship have mirrors, windows, and doors. In the fifth stanza, he epitomizes the fish when the poem states that fishes near gazed at the gilded gear, and query: what does this vaingloriuosness down here?† (Hardy 71). The fish viewed a large object (ship) while they were swimming upon the floor of the ocean and questioned how it landed there. The fish’s personification demonstrates how vanity of man is frivolous and unsuitable. The aquatic animals look down upon the ship, yet it is the mother of the entire ships. In verse eight, the word Iceberg has the letter I being capitalized (Hardy 72). This capitalization stresses the iceberg’s powerfulness. In the poem’s sta nza nine, the poet uses assonance. In this sense, the letter â€Å"e† becomes the rhyme. As such, in the first line of stanza nine, words that rhyme with â€Å"e† include â€Å"be† and seemed (Hardy 72). Also in line three there is â€Å"history† and â€Å"wielding†. The employment of assonance in this stanza describes the way passengers within the ship were incapable of seeing the forthcoming tragedy. They represent a whole notion and run well. The utilization of meter in Hardy’s poem functions with same purposes. The favorite lines of the speaker mix and highlight concepts. The lines utilized in the poem possess a regular meter. Additionally, the poem is split into eleven verses each possessing three lines. Likewise, the last syllables in every stanza rhyme. The initial two lines are trimesters, whilst the final line is the hexameter. The breaks in the stanzas represent the poem’s sadness, and they force the reader to stop before moving to the other line. Hardy’s subtle diction and threatening tone mirrors the opposition between iceberg and the Titanic, representing the whole theme of conflict of human against God and nature. In this sense, the poet mentions God as The Imminent Will that stirs and urges everything in stanza six (Hardy 72). The term immanent that means God being a joke for imminent, indicates the unavoidable conflict of the smash of the Titanic in the iceberg. What is more, the iceberg’s personification as a sinister mate that grew in shadowy silent distance typifies it with killer-like features, the imagery and sibilance expressing the insidious features of the unexpectedness and inexorability of the crash for mortal eyes, the metonymies of mortal eye and immanent will embodying the larger clash of man with nature and God (Hardy 71). The foreboding tone of the speaker repeats the imagery of conflict of the poem by demonstrating that hubris of mankind is incapable of defeating the omnipotent, thereby requesting the human vanity’s futility. Hardy emphasizes that, when the Titanic was fashioning (being crafted), The Immanent Will, - the force behind the world, that stirs and urges everything – at which spot verse VI runs on into verse VII, like the Immanent Will is an inexorable force (Hardy 72). Verse VII starts with the verb, indicting the action that Immanent Will impels into bein...