An Analysis Of Thomas Hardy’s Poem “The Convergence Of The Twain’’ (Other (Not Listed) Sample)
The task was about analyzing the given poem. This sample analyses the poem 'The Convergence of the Twain'.source..
The Convergence of the Twain
Thomas Hardy’s “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 current 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 chambers 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 stanza nine, the poet uses assonance. In this sense, the letter “e” becomes the rhyme.
As such, in the first line of stanza
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