Extended commentary of ‘During Wind and Rain’ by Thomas Hardy Essay

On the Title: An ambiguous and interesting choice of title, in that it is – as I will show – both incongruous with the tense (or time-scale) used in the poem and draws the reader’s attention to descriptions of the weather. The word â€Å"during† makes the weather conditions affect the present. However, the poem is mostly written in the historic present and many of the stanzas depict images of bright, pleasant days – not the â€Å"wind and rain† alluded to in the title. There is clearly an intentional discrepancy being orchestrated here by Hardy. Quote SLS: â€Å"Beware â€Å"during†, the incongruous preposition.† Overall Structure: Four stanzas of seven lines, with a very strange (but regular) rhyme scheme. Hardy uses a very odd structure indeed. The rhyme scheme utilised in the poem consists of: ABCBCDA. There are multiple effects of this: * The sixth line in the stanza breaks the poetic flow of the stanza, as it is the only line not to rhyme with another – hence acting like a mid-stanzaic volta. It draws attention to itself. Therefore, it should come as no surprise that the sixth line of every stanza breaks away from the theme of familial happiness painted in the previous five lines, and turns the subject to the contrasting theme of death. Observe the refrains used! * The drawn out â€Å"A† rhyme encompasses the entirety of each stanza. Given that the last line (about death) is linked to the first (about life), is Hardy trying to show the unavoidable connection of life and death? * Seven lines to each stanza perhaps represent a week, just as the four stanzas represent the seasons? Very poor allusion. Themes: Death, Family life, Time, The Seasons. Difficult Language Notes: â€Å"Blithely† means â€Å"happily†. First Stanza Notes: â€Å"They sing their dearest songs – He, she, all of them – yea, Treble and tenor and bass, And one to play; With the candles mooning each face†¦ Ah, no, the years O! How the sick leaves reel down in throngs!† This poem is one full of repetition and refrain. The general layout of each stanza, in terms of theme, organisation and repetition of certain lines, remains constant. Each stanza, for example, opens with an image of a family – presumably the same one throughout – in a place, or carrying out an action, in a unified and â€Å"happy† way. This stanza evokes a scene of the Victorian family gathered, singing, around a piano (â€Å"one to play†), as piano playing and â€Å"sing-a-long† was, of course, very common in Hardy’s time. Note how he only uses personal pronouns; distancing effect? Hardy goes to perhaps extreme lengths to show the family’s unity. On a critical note, one could criticise his rather inefficient use of the first four lines of this poem, but that is not our aim. Some analysis: * â€Å"They sing their dearest songs†. Note the use of a superlative adjective in â€Å"dearest†. It is the first of many. We may query its meaning; perhaps it indicates a certain reverence to familial attitude, both in Hardy and in the family itself. They are enjoying it! * â€Å"He, she, all of them.† Illustrates a togetherness within the family – one which (as Hardy will later comment upon) Death inevitably overcomes. The following line regarding the different musical voice (â€Å"Treble and tenor and bass†) illustrates a similar thing, but is used to point out that Death affects all elements of family, regardless of age. How very depressing – we’re only at line 3! Even better, he does this in all stanzas. * â€Å"– yea† Note use of colloquial (conversational) affirmative. Not only is it used to force the rhyme scheme, but it contrasts with the later â€Å"Ah, no†, which is negative. Hardy does this in all stanzas. Without jumping ahead, however, it is simply a friendly comment of approval. * â€Å"With the candles mooning each face† Night time scene. Interesting, seeing as it contrasts with the other images presented, which are all in bright daylight. * â€Å"Ah, no; the years O!† Thus we encounter the â€Å"inter-stanzaic volta†. Not only does the rhyme scheme depart from regularity (We label the sixth line in all stanzas the ‘D’ rhyme, as it is the only line not to have a rhyming companion). It signifies a departure from the pleasant theme of the unadulterated joy of family life, and an arrival at the theme of its death – or the fact that it is all going â€Å"to pass† eventually. As before mentioned, the â€Å"Ah, no;† contrasts with the previous affirmative. The actual sense of this line is rather obscure. We assume that Hardy is implicitly commenting on the fact that â€Å"the years† take away/ damage the family life – as they pass, so does the family and its happiness. â€Å"O!† is an ejaculation, expressing sadness or mourning for the family. * â€Å"How the sick leaves reel down in throngs!† Hardy furthers his ideas about death. Here is a line referring to the autumnal decay of life – leaves falling – and the way in which it precedes Death. Note how the leaves, when considered in â€Å"throngs†, may represent people? In the same way, a â€Å"reel† is a type of dance; is this (a slightly sick) dance of death? Unlikely, but we must remember that Hardy has no qualms with tragic irony. Second Stanza Notes: â€Å"They clear the creeping moss – Elders and juniors – aye, Making the pathways neat and the garden gay; And they build a shady seat†¦ Ah, no; the years, the years; See the white storm-birds wing across!† Once again, Hardy begins his stanza with an image of the family, this time in the garden – presumably in spring, as suggested by the fact that they are clearing the remains of winter (â€Å"the creeping moss†), whilst he describes the garden as â€Å"gay†. One can immediately recognise the structural similarities shared with the first stanza, as well as the meaning behind the â€Å"pleasant† image. * Note that Hardy now observes that both â€Å"Elders and juniors† participate – again, he differentiates between the different members of the family, but now uses the factor of age, as opposed to musical voices. This serves only to strengthen the original analysis; that unity may be visible and, indeed, enjoyable, but it is only fleeting in the face of Death. Lovely†¦ * Observe how the family’s actions are arranged around both â€Å"making the place neat/pretty† and around comfort. â€Å"Making pathways neat† and â€Å"building a shady seat† have only temporary effects upon happiness – the â€Å"moss† will grow back, the pathways will become untidy in time, when Winter (representing Death and decay) comes. Thus we find that Hardy is setting up, within his â€Å"pleasant† image, the backdrop upon which he wishes to point out that all happiness, joy – and life itself – is fleeting. * Or is it an image of the â€Å"futility of human endeavour† – the weather will erode the order imposed upon it, and ultimately Death will prevail? * On an aside: evidence for the scene being set in spring: if the seat is shady, then surely the sun must be out in broad daylight – not a symptom commonly associated with the Wintry illness! Ah, no; the years, the years; See the white storm-birds wing across! And yet, on cue, Hardy revives his alternative theme – this time with a slightly different D rhyme/phrase. The colloquial negative remains, but Hardy uses the echo of â€Å"the years† to emphasize the passage of time. He uses the same phrase in the fourth stanza, yet repeats the primary ejaculation in the third stanza (they alternate). The final line of the stanza is rather interesting. â€Å"Storm-birds† sound like mythical beasts – perhaps the extremity of phrase reflects that of Death? – yet they are most likely geese, flying away before Winter comes. It is not as disturbing an image as that of the leaves â€Å"reeling†, but it again points to the same idea. The use of strong verbs in all final lines in all stanza adds to their strength: â€Å"reel† in Stanza One, â€Å"wing† in the second, etc. â€Å"To wing† itself is an unusual choice, perhaps adding to a sense of the supernatural. Think back to â€Å"Neutral Tones† and the â€Å"ominous bird a-wing†. The verb has the same effect here. Third Stanza Notes: â€Å"They are blithely breakfasting all – Men and maidens – yea, Under the summer tree, With a glimpse of the bay, While pet fowl come to the knee†¦ Ah, no; the years O! And the rotten rose is ript from the wall.† Here Hardy is at last explicit about the season and its effects; much as Autumn and Winter are representative of Death and decay, spring and summer bear idyllic delights. In this stanza, we find ourselves in the latter. One cannot â€Å"overdo† the emphasis which Hardy applies to the seasons. He pictures human life as tragically linear, whilst comparing it to the inevitably cyclical seasons. In the end, the seasons – especially Winter – bring about the decay of a finite life. And yet, to begin with, this stanza suggests that the family are blissfully unaware of that fact. * Once again, we find the family in unity and happy – seeing as they are â€Å"blithely breakfasting† – suggesting a disregard for the potential decay and sadness. They appear to live in the happy present. * It has been suggested that the family have now grown up, seeing as they are now described as â€Å"Men and maidens† as opposed to â€Å"Elders and juniors†. Side point – no way to substantiate claim. Of course, now Hardy differentiates between them using sex – all the more differences which Death can overcome. * Allusions to an Arcadian ideal – a perfect landscape, full of happiness – are impossible to avoid. â€Å"Under the summer tree / With a glimpse of the bay†; it sounds more like Tuscany than Britain! Of course, Hardy is not that explicit. The â€Å"bay† may just as well be a bay tree, as much as a bit of coastland. Still, the image remains idyllic. And yet, â€Å"I [Death] am here†. * â€Å"The pet fowl† may represent a further source of happiness – domesticated or agricultural livestock have always been kept for the happiness of one’s stomach or one’s heart. Either will do. More human endeavour to be laid waste to by Death? Here, as usual, the poem breaks away and returns to the original ejaculation about the years passing. Note how the â€Å"O!† lengthens the line – it slows the reader down. Otherwise analysed above. The final image evocative of Death, however, is of our greatest interest: â€Å"The rotten rose is ript from the wall.† Again, an ambiguous phrase creates the sense of sickening mystery which Death itself possesses. Not only does the obvious alliteration of the â€Å"r† sound mount both the tension and force placed upon the final verb, but it also mirrors the ugly nature of the act itself. â€Å"Ript† is merely an archaic spelling of â€Å"ripped† – the sense is the same and bears the same strength. Yet who, or what, rips up the rose? Obviously, the image is representative of Death claiming a life; the verb suggests an unpleasant or untimely death. Quote SLS: â€Å"A complete severance from life†. Perhaps we can extrapolate this further to make a comment on the cruelty of Death in Hardy’s eyes? It may well be the wind. This would fit with the title, although we must still ponder the incongruous preposition, â€Å"during†. Perhaps the entire image is metaphorical, and Death is simply tearing a previously beautiful flower (â€Å"rotten† is probably representative of â€Å"old†) away from life? Fourth Stanza Notes: â€Å"They change to a high new house, He, she, all of them – aye, Clocks and carpets and chairs On the lawn all day, And the brightest things that are theirs†¦ Ah, no; the years, the years; Down their carved names the rain-drop ploughs.† Clearly the family have grown wealthier, to move house – and, it seems, they have moved quite literally â€Å"up† in the world, as it is a â€Å"high† one. One may question whether this stanza overly reflects upon the materialistic joys of the world. Maybe that is Hardy’s intention. I doubt, however, that this is an explicit attack upon those who value material objects; rather a memento mori, in that, despite the temporary pleasure of wealth and possessions, Death will always claim victory. Deeper analysis: * Note how we have returned to â€Å"He, she, all of them†. Have we come round in a full generational cycle? * The weather remains good, as the family display their possessions on the lawn, presumably as they either prepare to move them to the new house from the old, or simply before they have been properly installed. Clearly Hardy is using summer to represent joy and prosperity. * The language bears little complexity – hence little analysis! Is this done to reflect the simple, but enjoyable, pleasures of materialistic desires and good weather? * â€Å"Brightest things which are theirs†. Note another superlative. Relevance/ importance, other than to add emphasis? (Have previously analysed the secondary ejaculation. Now repeated.) The final image of the poem is possibly the most interesting, dramatic and explicit. â€Å"Down their carved names the rain-drop ploughs.† Here Hardy at last makes an explicit reference to the subject of death, in that their â€Å"carved names† are grave stones, whilst also tying in the title (with the reference to the weather). Primarily, we are shocked by the contrast; clearly, Hardy is imagining the same individuals with whom we are now familiar (as â€Å"the family†) as being dead. They have been buried. This is a very sudden and rather upsetting realisation. Hardy very successfully makes his point about the frailty and temporal nature of life. Their successes and happiness are irrelevant. How depressing! Worse, Hardy suggests that the weather erodes them not only in life, but also destroys (â€Å"ploughs†) their memory in death; the rain drop appears to be eroding away the names from the stones. This insensitivity contrasts with the use of â€Å"names†, which are highly personal. Perhaps, however, Hardy intends â€Å"ploughs† to be positive. As in the agricultural sense, the rain drop prepares for new growth? Final note: Is the narrator writing the poem in the grave-yard? Are the images he recollects merely his memories of a family now dead – the images of Death are all happening around him â€Å"during wind and rain†? Clever point. Perhaps.