The Convergence of the Twain
By Thomas Hardy
(Lines on the loss of the “Titanic”)
In a solitude of the sea
Deep from human vanity,
And the Pride of Life that planned her, stilly couches she.
Steel chambers, late the pyres
Of her salamandrine fires,
Cold currents thrid, and turn to rhythmic tidal lyres.
Over the mirrors meant
To glass the opulent
The sea-worm crawls — grotesque, slimed, dumb, indifferent.
Jewels in joy designed
To ravish the sensuous mind
Lie lightless, all their sparkles bleared and black and blind.
Dim moon-eyed fishes near
Gaze at the gilded gear
And query: “What does this vaingloriousness down here?”
Well: while was fashioning
This creature of cleaving wing,
The Immanent Will that stirs and urges everything
Prepared a sinister mate
For her — so gaily great —
A Shape of Ice, for the time far and dissociate.
And as the smart ship grew
In stature, grace, and hue,
In shadowy silent distance grew the Iceberg too.
Alien they seemed to be;
No mortal eye could see
The intimate welding of their later history,
Or sign that they were bent
By paths coincident
On being anon twin halves of one august event,
Till the Spinner of the Years
Said “Now!” And each one hears,
And consummation comes, and jars two hemispheres.
In his cool, philosophical poem “Convergence of the Twain,” Thomas Hardy meditates on the futility of acquiring material wealth. The poem opens in “a solitude of the sea” where the Titanic-Britain’s crowning glory and so-called “unsinkable” ship-came to rest over 100 years ago.
The remote, dark depths of the Atlantic serve as the setting for the rest of poem where the once magnificent testament to human will now sits at the bottom of the sea. A deeply inhuman environment, the ocean in Hardy’s poem represents mystery and darkness, a place where all things will be forgotten and eventually meet their end. This idea is reinforced in the second line when Hardy describes the sea as a place “deep from human vanity” (Hardy 2). The fact that the ocean is “deep”-or removed- from human vanity suggests pride and appearance have little meaning after death. In the next line, Hardy claims the “Pride of Life” planned the magnificent ship (Hardy 3). The aggressive capitalization of the word “Pride” proves the human belief in our own infallibility; however, our “plans” reveal themselves ludicrous when the Titanic, the “unsinkable” ship, flounders and sinks 3 days after it sets off from London’s harbor. By personifying man’s plans to construct an indestructible ship, Hardy mocks the ridiculousness of such an endeavor as man’s ambitions mean little in the face of destiny.
Since her tragic demise in 1912, the Titanic has become a devastating symbol of man‘s hubris, or over-reaching. In the third and fourth stanzas, we witness the futility of man’s worldly power: “Over the mirrors meant/To glass the opulent/The sea-worm crawls-grotesque, slimed, dumb, indifferent” (Hardy 7-9). Here, mirrors-which were “meant” to house “opulent” jewels-now serve as playgrounds for sea-worms. Though they were originally intended to protect something beautiful, mirrors themselves are extremely delicate, which points to human life’s fragility. Both stanzas follow the same structure: in the first and second lines, Hardy outlines an object’s original purpose; in the third, he reveals the uselessness of that purpose now that the Titanic is rotting six feet under. That jewels-emblems of glamor and social status-now “lie lightless” suggests that lavish wealth is meaningless in the face of mortality (Hardy 12).
Syntactically, the poem’s immediate undermining of each object’s original purpose proves two things: 1) man is very intent on being in control and 2) the desire to be in control is not only impossible-it’s pointless. Though these stunning jewels were “designed” to “ravish the sensuous mind,” life interferes with those plans when the Titanic meets her “twin halve” and crashes into an iceberg (Hardy 10-11).
“If you want to make God laugh,” the old saying goes, “make a plan.” Thomas Hardy’s “Convergence of the Twain” is a cruel reminder of our inability to ever be fully in control. In fact, the only thing that seems to possess absolute governance in the poem is God, whom Hardy describes as the “Spinner of Years” (Hardy 31). Man might imagine himself as the subject of his syntactical destiny; however, it is God who appears over and over again as the actual one in power. In the sixth stanza, we see this image of God reinforced grammatically:
“Well: while was fashioning/This creature of cleaving wing,/The Immanent Will that stirs and urges everything/Prepared a sinister mate/ For her — so gaily great” (Hardy 16-20).
Interestingly, the first line of the stanza is missing a proper subject. The sentence sounds so odd, in fact, one might think it’s a typo. However, Hardy intentionally drops the subject (man) to imply man is not a subject at all, but rather an object at the mercy of God’s will. Humankind may outwardly appear like a God (for instance, in these lines he fashions “creatures” much like God in the biblical origin story), but he nevertheless remains an object of the “Immanent Will.” God’s status as the only named subject in these lines hints at the overall moral of Hardy’s poem: compared to God, who is mighty and omnipotent, man’s ability to influence fate, it seems, is painfully limited.