Wanderlust, founded America. Faith, keeps Americans hopeful. Adversity, promises change. The two poems, “Dover Beach” by Matthew Arnold and “Sea Fever” by John Masefield, perfectly illustrate the power of wanderlust, the power of suffering, and the power of faith, in the most complex battle against the human mind; the poems reveal literal and metaphorical vision of the sea. John Masefield, a copious writer, had a history of siding with the weak against the strong (Strong 356). Masefield found his identity in love of life and compassion for all that live it (356). John Masefield was born in 1878, and trained to go to sea (“John Masefield” par 1). Masefield is a British poet, which is crucial to the setting of the poem, “Sea Fever” (par 1).
In early times the sea was the most important aspect of humans’ life, allowing exploration of foreign lands (Dawson 1101). But before the sea, faith once was the center of humans’ life (1101). The word “Beach” is more significant than “Dover” in the poem’s title (1101). In the poem, the poet turns to his love in desperation, looking for meaning and stability in this chaotic world (1101). The poem in the second stanza refers to Greek tragic to represent that human misery is not a new
The imagery indicates the loss of faith is not simply unfortunate but also results in a great sense failure and destruction (1101). An analysis of “Sea Fever” allows the reader to understand John Masefield desire for adventure. “Sea Fever” is a poem, written in simple language, with no difficult words to understand (Michael par. 1). “The title of the poem, “Sea – Fever,” and the poet’s vivid imagery communicate the power of the sea (“Analyzing a Poem” par. 5).” The first stanza of the poem illustrates the effect the sea has on the speaker: I must go down to the seas again, to the lonely sea and the sky, And all I ask is a tall ship and a star to steer her by; And the wheel’s kick and the wind’s song and the white sail’s shaking, And a grey mist on the sea’s face, and a grey dawn
“The sea's only gifts are harsh blows, and occasionally the chance to feel strong. Now I don't know much about the sea, but I do know that that's the way it is here. And I also know how important it is in life not necessarily to be strong but to feel strong. To measure yourself at least once. To find yourself at least once in the most ancient of human conditions. Facing the blind deaf stone alone, with nothing to help you but your hands and your own head.” – Christopher McCandless, Into the Wild
“Across the Western Ocean” is an American folk song arranged by composer Celius Dougherty. Although the song is American, the lyrics of the song detail the dangerous voyage the Irish immigrants of the early-to-mid 19th century had to undertake to come to the United States. “Across the Western Ocean” was arranged by Dougherty in 1948, and published in his compilation “Five Sea-Chanties” (“Five Sea Chanties”).
The juxtaposition of the Titanic and the environment in the first five stanzas symbolizes the opposition between man and nature, suggesting that nature overcomes man. The speaker characterizes the sea as being “deep from human vanity” (2) and deep from the “Pride of Life that planned” the Titanic. The diction of “human vanity” (2) suggests that the sea is incorruptible by men and then the speaker’s juxtaposition of vanity with “the
The poem is notable for Hayden's characteristically accurate evocation of imagery. Just like his other poems, Hayden’s imagery in this poem is very vivid. The reader is able to imagine or see these images in their inner minds. Thus, the diver “sank through easeful/azure/swiftly descended/free falling, weightless/plunged” he described the diver’s carefree attitude and relaxed attitude as he dove into the sea. Thrilled and enchanted by what he sees in the wrecked ship, he lingers for more than intended. When he was brought to the reality of the danger he was in, he, “...in languid/frenzy strove/began the measured
The ocean is mysterious to mankind. The unfathomable vastness of the ocean intrigues humanity into exploring it. In life, the immense possibilities that lie in the future compel us to reach for the stars. In the poem “The Story” by Karen Connelly, an individual willingly swims into deep waters even though they are fearful of what may exist in the waters. The swimmer later finds out that their fears were foolish, which illustrates the human tendency to venture into the unknown. The theme conveyed in this poem is that life is like a rough, uncertain, uncontrollable ocean that we must find get through with experience.
Some of the most intriguing stories of today are about people’s adventures at sea and the thrill and treachery of living through its perilous storms and disasters. Two very popular selections about the sea and its terrors are The Perfect Storm by Sebastian Junger and “The Wreck of the Hesperus” by Henry Longfellow. Comparison between the two works determines that “The Wreck of the Hesperus” tells a more powerful sea-disaster story for several different reasons. The poem is more descriptive and suspenseful than The Perfect Storm, and it also plays on a very powerful tool to captivate the reader’s emotion. These key aspects combine to give the reader something tangible that allows them to relate to the story being told and affects them strongly.
Stephen Crane’s “The Open Boat” has long been acclaimed as a fascinating exemplar of Naturalism, generating many studies that range from the indifference of Nature to the “psychological growth of the men through the experience” (466). The psychological growth happens to every man on the boat, yet is mostly depicted through the voice of the Correspondent and in the form of his questioning and contemplating their desperate situation. Being a correspondent, who is innately able as well as inclined to interpret and communicate ideas, the Correspondent is singled out to articulate the mind of his three fellowmen and of Stephen Crane himself, should the story be seen partly as a journalistic account of his own adventure. Therefore throughout the story, the Correspondent takes the mediating role between the men and the outside world, combines a spokesperson with an interlocutor, and reflects the men’s growing awareness to the indifference of Nature.
The voice of the sea is seductive, never ceasing, whispering, clamoring, murmuring, inviting the soul to wander for a spell in abysses of solitude; to lose itself in mazes of inward contemplation. The voice of the sea speaks to the soul. The touch of the sea is sensuous, enfolding the body in its soft, close embrace (Chopin 25).
The Seafarer, The Wanderer, and The Wife’s Lament all contains faith verses fate. The three poems are very similar and very different. The three poems ranging from a lonely man, to a lost soldier, to a wife’s bedrail. The medieval poems show hurt, confusion, and loneliness.
Robert had invited Edna to go to the beach with him and at first she denied but compelled by the spell of defiance followed along allowing herself to indulge in deep self understanding. “A certain light was was beginning to dawn dimly within her,- the light which, which showing the way, forbids it.The voice of the sea speaks to the soul. The touch of the sea is sensuous, enfolding the body in it’s soft, close embrace” (Chopin 13), that night Edna had formed a fatal attraction to the sea and its seductivity for the presence of the river weighed heavy that night. Causing her to develop a great love for swimming for it gave her a reason to be wrapped up in the ocean’s smothering
To conclude, there are two main opposing representations and aspects of home presented in this poem, from what is seen as the "norm", the narrators life on land, to the "favoured", the narrators life at sea. Home is irrevocably linked to lifestyle and should not just be where the heart is,(though there is a sense that our "Heart's fulfilment" is important) but should more importantly be a place where we can live a life that will bring us towards heaven, which the poem portrays as our eternal home. The Seafarer is a poem which urges us to carefully "consider where we possess our home, and then think how we com thither."
“The Fish,” written by Elizabeth Bishop in 1946, is perhaps most known for its incredible use of imagery, but this analysis does not merely focus on imagery. Instead, it is based on a quote by Mark Doty from his essay “A Tremendous Fish.” In it he says, “‘The Fish’” is a carefully rendered model of an engaged mind at work” (Doty). After reading this statement, it causes one to reflect more in-depth about how the poem was written, and not just about what its literal meaning lays out. In “The Fish,” Bishop’s utilization of certain similes, imagery in the last few lines, narrative poem style, and use of punctuation allows the audience to transport into the life of the fish; therefore, allowing them to understand Bishop’s ideas on freedom and wisdom.
Through metaphors, the speaker proclaims of her longing to be one with the sea. As she notices The mermaids in the basement,(3) and frigates- in the upper floor,(5) it seems as though she is associating these particular daydreams with her house. She becomes entranced with these spectacles and starts to contemplate suicide.
The “Open Boat” and “A Mystery of Heroism” are both fantastic displays of Stephen Crane’s mastery with naturalism. The first depicts the struggles of four men trying to survive the open ocean, the latter a commentary on the obscure requirements of heroism. Both stories shared similar characterization by letting the reader decipher the protagonist through their actions and thoughts. The themes of the two stories differed, one emphasizing the indifference of nature and the other musing the ambiguity of what constitutes a hero. The conflicts also shared a likeness, with the power of repetitive nature of waves connecting to the force and persistence of artillery fire. The values of the stories still hold prevalent to modern society. Wars still rage on, many heroes are lost and forgotten, and nature still holds her unrelenting grasp on human complexion.
It is the duty of the sea to act as a navigation system, so humanity is always going in the right direction. It also acts as a way for us to get the water we need to survive, to catch the food man needs for nourishment, and provide cleanliness, which is equal to godliness. This stanza portrays water as a friend, that guides us in the right direction, and a parent that provides us with everything needed to survive and be prosperous. This once again strikes home the point that the world is an extension of God, created to bring mankind ultimate pleasure - the water that He created acts as a willing servant, and parental figure, such as God is usually