Read the following poem by Thomas Hardy (1840–1928), published in 1900:
The Darkling Thrush
I leant upon a coppice gate
When Frost was spectre-grey,
And Winter's dregs made desolate
The weakening eye of day.
The tangled bine-stems scored the sky
Like strings of broken lyres,
And all mankind that haunted nigh
Had sought their household fires.
The land's sharp features seemed to be
The Century's corpse outleant,
His crypt the cloudy canopy,
The wind his death-lament.
The ancient pulse of germ and birth
Was shrunken hard and dry,
And every spirit upon earth
Seemed fervidless as I.
At once a voice arose among
The bleak twigs overhead
In a full-hearted evensong
Of joy illimited;
An aged thrush, frail, gaunt, and small,
In blast-beruffled plume,
Had chosen thus to fling his soul
Upon the growing gloom.
So little cause for carolings
Of such ecstatic sound
Was written on terrestrial things
Afar or nigh around,
That I could think there trembled through
His happy good-night air
Some blessed Hope, whereof he knew
And I was unaware.
In the poem, how does the transition from the speaker's meditation on the dead landscape (stanzas 1-2) to the thrush's song (stanzas 3-4) develop the poem's thematic argument?
- AIt chronicles Thomas Hardy’s own personal disillusionment with Victorian industrialization, asserting his belief that nature will eventually reclaim the urbanized landscape.
- BIt maintains a singular, unchanging mood of desolation throughout the poem, proving that the bird's song is ultimately unable to disrupt the speaker's permanent despair.
- It shifts the poem from a meditation on physical and cultural decay to a tentative recognition of hope, suggesting that a source of renewal may exist even if it is currently imperceptible to the speaker.Answer
- DIt contrasts the auditory imagery of the bird's 'ecstatic sound' with the visual description of the 'spectre-grey' frost to classify the literary devices of the late Victorian era.
- EIt reveals that the speaker instantly shares the thrush's joy because the enjambment between the third and fourth stanzas structurally merges the speaker's mind with the thrush's voice.