As the poems move away from the man-nature c o n f l i c t s , 43 changes i n imagery reveal Pratt's new interest i n man. Pratt seems to be about the simple subject of a shark. The capacity f o r men to act as merely a part of the cold mechanism of the universe i s i n men, but they must learn to overcome i t through communica-t i o n of the warmth of t h e i r s p i r i t. Each year, anywhere from 73 to 100 million sharks are killed to make a traditional Chinese dish called shark fin soup Jefferies, 2012. The Iron Door: An Ode, p.
His ancestors were great voices i n ancient coun-c i l s and were great warriors on the b a t t l e f i e l d s. Chapter I discusses the patterns of images and symbols that exist in Pratt's lyrics and less successful narratives. As the poem progresses, the musicians and t h e i r music become the outward center of order on the ship, sustaining those passengers of weaker w i l l. The reader's eyeballs prick with tears between the bath and pre-lunch beers. Moreover Pratt implies that the tabbys feral instincts are more fixed than its standardized points of breed.
The rising pulses of the morning air. Pratt does not write of power, of machinery, of nature, or of r e l i g i o u s systems. Pratt does not view Christ as divine. The Jesuits' i d e a l i s removed from the warm, human impulse that generated i t , C h r i s t ' s. The mechanical devices that the Frenchmen have— a lodestone, a magnifying v i a l containing a f l e a , a lens, and a c l o c k — a r e. The whale has won his great b a t t l e with the kracken, and as he speeds through the surf to claim his lordship over a l l the whales i n the oceans, the sea water breaks over him i n the sunshine, clothing him i n monarchial garments: Over h i s back the running seas Cascaded, while the morning sun Rising i n gold and beryl, spun Over the cachalot's streaming gloss, And from the foam, a f i e r y f l o s s Of multitudinous fashionings. On a primary l e v e l i t i s a happy coincidence, and i r o n i c that nature should honor the v i c t o r y of man over death.
The sea i s the monarch of the elements, i n the sea i s Death, rather than i n the wind that lashes the ship, or i n the snow that covers i t. It i s a symbol of Fate. In the pattern of Pratt's images of c o n f l i c t , t h i s i s t r a g i c ; the prie s t s are unwitting agents of the death-force. And I saw the flash of a white throat, And a double row of white teeth, And eyes of metallic grey, Hard and narrow and slit. His poem, A Call, for example, speaks in a caring voice like that of Blakes indulgent nurse in the Songs of Innocence.
From the aeroplane he stares impassively where he earns his living and they do not care. Many poems have been written about war and the feelings evoked by war. This peculiarity of perspective is also noticed by Vincent Sharman who sees a similar Machine at the heart of Pratts nature, an uncaring and amoral God who is more like the Great Machine than anything else Illusion and Atonement: Pratt and Christianity 110. Brebeuf and His Brethren, p. Hundreds of occupants are murdered by the Iroquois i n these f i r e s. His body was tubular And tapered And smoke-blue, And as he passed the wharf He turned, And snapped at a flat-fish That was dead and floating.
The transcience of men's mechanisms i s apparent when the l i g h t s of. The sea symbolizes both death and the Void of the universe, from which, i n Pratt, a l l l i f e comes and to which a l l l i f e returns. While on their way back they get gassed. These patterns present Pratt's view that the Jesuits are misguided. In Silence in the Sea, Frye dwells upon Pratts long view of natures unending vastness, the mindless, pointless world of wheeling stars and crashing seas operating aeons long before and still operating throughout the minuscule human present. A hundred agonies in black-and-white From which his editor will pick out five or six for Sunday's supplement. Then out of the harbour, With that three-cornered fin Shearing without a bubble the water Lithely, Leisurely, He swam— That strange fish, Tubular, tapered, smoke-blue, Part vulture, part wolf, Part neither—for his blood was cold.
The c o n f l i c t i s between men whose primordial i n s t i n c t s f o r self-preservation are op-posed by those who desire to save others. Their gruesomeness underlines the depths of t e r r o r that the application of i n t e l l i g e n c e can produce, f o r the Indians are r a t i o n a l creatures; t h e i r ways of torture are a r e f i n e -ment to them: A human art was torture, Where Reason crept into the veins, mixed t a r With blood and brewed i t s own intoxicant. Pratt worked many jobs, some of which include: teacher, draper's apprentice, assistant minister. Pratt founded Canadian Poetry Magazine in 1935, and served as its first editor until 1943. Once this sly nature is released, it is hard to contain and too obvious to repress. Their symbolic actions are vapid.
The iceberg contrasts, i n i t s mechanical change from beauty to ugliness, to the moral changes of Guggenheim, Straus, etc. Keith, and Zailig Pollock ed. It i s death at the window, and man has given death meaning, although i t existed Before the winds of God had learned to strew His harvest-sweepings on a winter sea To feed the primal hungers of a reef. Some of the e a r l i e s t images of deliberate e v i l i n the poem are i n the torture of an Iroquois by the Hurons. By these contrasts Pratt not only i d e n t i f i e s the natural world around man as cold, but he expresses paradoxically both the f r a -i l t y of men and, i n t h e i r s u r v i v a l of nature's force, t h e i r strength.
It is shorted a little in order to clean up the bone, remove the damaged bone and even it out to make reattachment easier. The only light is red and softly glows, as though this were a church and he a priest preparing to intone a Mass. We saw the bat-companioned dead arise From shafts and pipes, and nose like beagles The spoors of outlaw quarry in the skies Whose speed and spread made fools of eagles. Common men r i s e to godhead when they overcome the forces of death symbolized by the sea through f e e l i n g f o r others and through t h e i r determination to succeed symbolized by l i g h t. The object of man's f a i t h i s a vulgar bauble.