Classic and Contemporary Poetry: Explained

In "Doomsday" by Elinor Wylie, the poem explores the overwhelming and inescapable approach of the end of everything—whether it be the end of an era, the collapse of a society, or the ultimate end of the world. Through a series of loud, vivid, and often violent sounds, the poem builds a sense of impending doom, capturing the intensity and relentlessness of the approaching catastrophe. Wylie uses sound as a central motif to convey the emotional and psychological experience of living in anticipation of such an event.

The opening lines immediately establish the poem’s theme of impending disaster: “The end of everything approaches; / I hear it coming.” The use of "I hear it coming" personalizes the experience, making the reader feel the approaching doom as something immediate and unavoidable. The phrase “loud as the wheels of painted coaches / On turnpikes drumming” introduces the first in a series of sounds that grow progressively louder and more intense. The "painted coaches" evoke an image of something grand and imposing, yet the sound of their wheels on turnpikes is one of inevitability, steadily approaching and loud enough to command attention.

As the poem progresses, the sounds continue to build: “Loud as the pomp of plumy hearses, / Or pennoned charges.” The "pomp of plumy hearses" calls to mind funerals, death, and finality, suggesting that this end is associated with the death of something significant. The "pennoned charges," referring to banners or flags waving on military units, further amplify the sense of impending destruction, evoking images of war or conflict. These images of death and warfare continue to heighten the tension in the poem, as if the approaching end is both inevitable and fraught with consequence.

The poem then shifts to more natural imagery with “Loud as when every oar reverses / Venetian barges.” This reference to Venice, with its iconic canals and gondolas, suggests a sudden and violent disruption of something usually calm and graceful, emphasizing the chaos that comes with the end. The reversal of oars reflects a forced change of direction, reinforcing the sense of impending upheaval.

Next, the poem evokes the sound of hooves in the “caves of covered bridges,” amplifying the imagery of movement and noise. The rumbling of hooves suggests an unstoppable force, a cavalry charging forward, perhaps representing the forces of history or nature that are propelling society toward its end. The caves and bridges, normally symbols of shelter or passage, here serve as amplifiers, emphasizing the deafening nature of the approaching doom.

“Loud as cloudy ridges / When glaciers tumble” continues the motif of immense, natural forces—glaciers, representing slow yet powerful forces of destruction, are tumbling, with their collapse making an equally tremendous sound. This image evokes a sense of something massive and inevitable breaking apart, much like the end of the world or the collapse of a long-standing order.

The next lines introduce a subtle shift in tone: “Like creeping thunder this continues / Diffused and distant, / Loud in our ears and in our sinews, / Insane, insistent.” Here, the poem compares the sound to thunder, a metaphor for something that grows steadily louder and more intense, yet remains distant and creeping. The use of "sinews" suggests that the body itself feels this coming doom, underscoring the total physical and emotional impact of the anticipated end. The word "insistent" implies that this end is not a quiet, passive event but one that demands attention and cannot be ignored.

The final lines intensify the apocalyptic imagery with “Loud as a lion scorning carrion / Further and further; / Loud as the ultimate loud clarion / Or the first murther.” The lion, often a symbol of power and strength, "scorning carrion," suggests that even the strongest force is rejecting the remnants of the past or the things that would normally be consumed. The "ultimate loud clarion" refers to a final call or signal of the end, a metaphorical trumpet announcing doom. The use of the word "murther," an archaic form of "murder," intensifies this idea, implying that the end will not be peaceful but violent, the first murder in a chain of catastrophic events.

“Doomsday” by Elinor Wylie is a powerful exploration of the auditory experience of impending doom. The poem uses an escalating series of sounds—ranging from the mechanical to the natural, from the ceremonial to the violent—to convey the inevitability and overwhelming presence of the end. Wylie’s imagery, rich with death, destruction, and natural forces, highlights the psychological and emotional toll of waiting for such a moment, where every sound seems to foretell the approaching collapse of everything. Through her use of sound and vivid imagery, the poem forces the reader to confront not only the nature of destruction but the way it reverberates through the body and mind.

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