As everyone on the planet now knows, Titanic sank 100 years ago today, sadly resulting in the loss of hundreds of souls. Perhaps no cultural response to this modern tragedy is more brilliant (and less discussed, comparatively, these days, at least in comparison to film and television spectacles) than Thomas Hardy's poem 'The Convergence of the Twain'. The jarring of the two hemispheres, the human, and natural, is eerily fated by The Spinner of Years. In this blind, process-led world, things happen, but not with any compassion, as the Immanent Will just stirs a sort of sluggish, cruel soup of events. One of the bleakest poems ever written in English (it makes Larkin seem jolly), it nonetheless captures the curiously disturbing aspects of the disaster - of any event in fact - by mocking the usual positive aspects of a love or marriage poem. In this case, the consummation is to be greatly not desired. Yeats was clearly strongly influenced by this poem, when writing 'Leda and The Swan'.
When you open your mouth to speak, are you smart? A funny question from a great song, but also, a good one, when it comes to poets, and poetry. We tend to have a very ambiguous view of intelligence in poetry, one that I'd say is dysfunctional. Basically, it goes like this: once you are safely dead, it no longer matters how smart you were. For instance, Auden was smarter than Yeats , but most would still say Yeats is the finer poet; Eliot is clearly highly intelligent, but how much of Larkin 's work required a high IQ? Meanwhile, poets while alive tend to be celebrated if they are deemed intelligent: Anne Carson, Geoffrey Hill , and Jorie Graham , are all, clearly, very intelligent people, aside from their work as poets. But who reads Marianne Moore now, or Robert Lowell , smart poets? Or, Pound ? How smart could Pound be with his madcap views? Less intelligent poets are often more popular. John Betjeman was not a very smart poet, per se....
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