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

On the Title venturous uses ii interesting words convergence and yoke. 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 title immediately positions the reader to the direction in which the poesy provide go. Hardy is not, as many elegiac meters of the day were, preparing to rue the loss of the ship and the lives upon it but rather proceeding to examine the philosophical nature of the collision perhaps it was fated?The other current use of bridge was in the pseudonym Mark Twain, made famous by the publication initially in England of The Adventures of Huckleberry Finn in 1886. Clems adopted the nom de plume to suggest uncomfortable wet or tight navigation, since two fathoms (twain, the sounding of a Mississippi deck-hand measuring the depth beneath the keel) would be dangerous for a steamboat.Background In mental straination The naval liner RMS large famously sank, a t 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 first published as damp of the souvenir program for that yield.Overall Structure Hardy writes eleven regular triplet stanzas, with an AAA rhyme scheme finishedout. The use of triplets allows for a more unadulterated exploration of ideas in each stanza integrate by the use of the rhyme scheme. Perhaps he excessively does this to create the effect of inevitability, for the rhymed words mental strain their own paths coincident that lead to a preset conclusion the reader knows, that is, with which sound each stanza impart end after he or she has completely read the first line of that stanza. However, that knowledge 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 i s not al focuss immediately discernible.Themes The Vanity of Man, The Relationship among Man and Nature, Fate, Classical Entities.Difficult Language dividing lines The Immanent Will a force of fate.Salamandrine associated with the fire hook (a mythical creature)The poem runs in straight sets but I wish to divide in two for ease of analysis. segment 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 silently at the rear end of the ocean. He creates a calm effect over his poem through the consonance of the s soundsIn a solitude of the seaDeep from valet vanity,And the Pride of Life that planned her, stilly couches she.Particular elements of diction are worthy of note* Deep from human vanity this line points to the emerging basis of mans failed vanity, in creating such a grand object to rule over the natural world, only to have Nature smite it . The phrasal idiom 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 ordain now examine the subject of vaingloriousness (and point out notable pieces of evidence throughout the remainder of the poem) which Hardy presents. 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 glass the opulent and the ships gilded cant with images of the c experienced 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 design for not bad(p)ness ultimately ends up in a property of abasement.* Stilly is a highly unusual adverb. Hardy uses it to create a sense of peace. This is furthitherd by solitude and couches. Couches suggests restfulnes s, 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 contrast 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 foster juxtaposition at heart this second stanza is the use of the word pyre, as it connotes funerals and death, 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 t he 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 again 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 calming images. The distinct iambic meter in this phrase aids the calming lilt of the lines. Hardy presents the Titanics ashes in a peaceful light, however chilling 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 glass the opulent CONTRASTED TO grotesque, slimed, dumb, indifferent sea worms. Note the harshness and emphasis on indifferent.* Jewels in joy designed CONTRASTED TO lie lightless, all their sparkles bleared and black and blind Note the use of polysynd eton.* 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?VIWell while was fashioningThis creature of cleaving wing,The Immanent Will that stirs and urges everythingIt is demonstrable that Hardy engineers the explanation of the collision as a response to the fishes question although one 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 metallic (man-made) ship and the natural world. Also note the alliteration used in this line. Qu estion 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 grownup enjambment at the end of the poem.The sense of stanza VI rolls into the VIIth, in direct opposition to the previous(prenominal) use of poetic closure to end all previous stanzas Hardy normally uses a form of punctuation. Now 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 obscurity to the point of their collision indeed increasing the pace at which the two entities move (which is obviously hardened 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 flesh out beast of cleaving wing is a very interesting phrase. Cleaving has triune meanings, all of which are appropriate to Hardys imagery. Primarily, he whitethorn be imagining the ship as it cleaves through the water, as all proper ships should do. Remember, in its day the Titanic was the fastest liner afloat. The cleaving wing may therefore be the iron set back 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 breathless. I doubt that there are any really d eliberate 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 exposition 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 married (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 imagery? He is certainly no stranger to using such odd vocabulary observe The dark ThrushFinally, I wish to examine The Immanent Will. Immanent i s 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 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 religion 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, clear religious controversy was not a good idea.Stanzas VIII and IX NotesAnd as the smart ship grewIn stature, grace and soak,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 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 kindred ver b. 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 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 oddly co nvoluted way that a certain action is destined to soon 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 august event,Till the Spinner of the YearsSaid Now And each one hears,And consummation gets, and jars two hemispheres.Very little necessarily to be said about the action in these stanza. The Twain collide, bringing together the long wait 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 cogency 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? Graphical lines do not change, thus t heir 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 express wonder at the grand, if tragic, culmination of two great forces. And yes, it is rather melodramatic.* Hardy at lasts 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, spin 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 cond ucts 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