Titanic. Poetry in Triplicism by James Fitzpatrick

 

From the drawing board, the plan was to use Titanic, the boat, as a backdrop to a piece about the ‘Bond Markets’ and ‘Celtic Tiger‘, however as the storyline was being put together the economic and political landscape changed rapidly, so this idea became outdated and was dropped. The new plan was to somehow focus on building a timeline for the creation of the EuroZone. Beneath this a battleground would be constructed to play out a war between  ‘Modernism and Conceptualism’ and the theatre’s set would then be painted in an undercoat of ‘Moral Corruption’, the same used in Shakespeare’s  ‘Hamlet’. This was a way of using the new form ‘Triplicism’ without losing the power of the original storyline.

 

 

 

 

Titanic revolves around a conversation between SO or SM ‘Lightoller’, the highest ranking surviving officer, and Millvina Dean, a two month old at the time of the sinking. She was steerage, which is third class, and was saved in a bundle of cloth. She had no memory of the sinking. 66% of all third class children drowned. In the poem ‘Lightoller’ tells Millvina what happened and what he came across on his final Deck Inspection. This took place at 10p.m. on the 14th, 1 hour and 40 minutes before the ship struck the Iceberg. He tells the story in the first person present tense, to give the impression he is closing his eyes remembering, reliving the evening for the first time in many years. 

 

 

 

Because of the class structure in the Edwardian era, it’s very easy to use the Titanic as  a modern symbol of social divide, with the ‘haves’ and the ‘have nots’ playing central characters. What was unusual 100 years ago however, was that the divide was physical. The ship was actually built to keep apart both Steerage or Third Class from the Second and First, using a set of walls, doors and Elevators. Here again the similarities of today can be seen in the decks and entertainment. The different social sports and games, likes and dislikes, social amenities etc. are as different today as they were then.

 

 

 

Elitism is a word which has become common due to the financial earthquakes felt since 2008. There is a feeling now, as there was then, that the poor should slave for the rich to play. Although this has become a political theme in countries with socialist lead governments, in the Titanic, it was a fact of everyday life. Where the meals and conditions were above average, the bonuses for the well heeled were far beyond what was on offer to the others. Then there was the Enquiry into the sinking that played this divide out more then any other action. Blatant denials of blocking of exits, along with insufficient life boats and a lack of drills, were sold to people unwilling to find fault in an industry in need of stability. For many, this was a public whitewash.

 

 

 

The meals in the piece are used to represent the position the EuroZone countries find themselves in as of December 2012. All the meals were taken from the menus on the last day of the ship’s sailing. Food was eaten on different levels of the ship, and each level references someone related to the differing times and creation of a European Currency. I.e. third class will focus on 1865 and the silver and gold price agreement, second class Stresemann in ‘29 etc. The Euro itself was part of an agreement on the reunification of Germany and was demanded by Britain and France as a condition. In the Poem ‘Berlin’ calls the tune referring to both Irving Berlin the composer and Berlin the city in the first class restaurant.

 

 

‘Iceberg right ahead, Sir’ can be taken as a warning in this context. The visible part of the iceberg represents the new Euro agreement, the Ship represents the Euro itself, and beneath the water, the iceberg represents the potential of an impending ‘Cold War’. The creation of the iceberg is explained as the layers and years of compacting, and as with mistrust, it can take years to thaw once built.

 

 

 

The undertone, or in this case third layer, was needed to complete the construction of Triplicism, which is the format of the poem. Here Lightoller plays the part of Hamlet, unknowingly and emotionally corrupted by an upper class, similar to manner the Danish Prince is corrupted by a ghostly father. In the poem Lightoller must find a way to slay his misconceptions, and fill the boats with all classes of both men and women. At first he is corrupted by his moral duties, filling the boats half full of women, mainly first class, but on realising the unthinkable is about to happen he breaks free to save as many as he can. This however means risking his own life, which he does, refusing a position on a boat. Unfortunately this was not a common trait, and although many crew, including the Captain (Smith) decided on a more chilling end, many more took the less chivalrous route, taking places reserved normally for women and children.

 

 

 

The Characters on the boat play out roles, Lightoller: Hamlet, Captain Smith: Victor Hugo, Ismay (The Admiral): Large Banker and so on, and in their demise or saving find themselves either accountable or not for their actions. Hugo’s opinion on open markets and no war gives him the perfect backdrop to be what the company and markets aspire to, with one exception, the speed with which they get there, the fault of the Collision. Ismay’s break with tradition by entering of life boat, refers to the lack of moral accountability, moral fortitude shown felt today. The life boat is man’s modern bonus to himself, offering a life which others are denied. However in the end, the piece itself does not find the market totally culpable, but more the people running it.

 

 

 

Although the poem in the main does not have a set rhythm, it flows easily. The final verses, are not by style ’Feminine’ and soft, but work more as homilies to Hardy and the poets of the age. The opening verses offer something different, more trochaic and ‘Raven’ like. The poem can be read as per level, from deep and gothic in third to lighter and haughty in first. Rhyme is used sparingly, making the verses dance in tune with the music played in eating quarters etc. The words and phrases used are taken from the Edwardian period, some of the new ones are developed from existing phraseology and diction. The Poem is written in Triplicism a new form consisting of three defined layers on top of one another.