“Cargoes” by John Masefield: A Critical Analysis

Introduction: “Cargoes” by John Masefield

“Cargoes” by John Masefield, first appeared in 1903 as part of his poetry collection Salt-Water Ballads, reflects Masefield’s fascination with the sea and maritime history, presenting a vivid contrast between the romanticized voyages of ancient and exotic ships and the stark utilitarianism of modern industrial transport. Through rich imagery and rhythmic language, Masefield evokes the opulence of ancient trade with “ivory, apes and peacocks” and the treasures of Spanish galleons laden with “diamonds, emeralds, amethysts,” before juxtaposing them with the grimy practicality of a “dirty British coaster” carrying mundane items like “coal” and “cheap tin trays.” Its enduring popularity lies in its evocative imagery, rhythmic beauty, and subtle commentary on the decline of romanticism in an industrialized world, offering a timeless reflection on progress and nostalgia.

Text: “Cargoes” by John Masefield

Quinquireme of Nineveh from distant Ophir,
Rowing home to haven in sunny Palestine,
With a cargo of ivory,
And apes and peacocks,
Sandalwood, cedarwood, and sweet white wine.

Stately Spanish galleon coming from the Isthmus,
Dipping through the tropics by the palm-green shores,
With a cargo of diamonds,
Emeralds, amythysts,
Topazes, and cinnamon, and gold moidores.

Dirty British coaster with a salt-caked smoke stack,
Butting through the channel in the mad March days,
With a cargo of Tyne coal,
Road-rails, pig-lead,
Firewood, iron-ware, and cheap tin trays.

Annotations: “Cargoes” by John Masefield

Line	Annotation
Quinquireme of Nineveh from distant Ophir,	Refers to an ancient type of ship from Nineveh, symbolizing grandeur and exoticism. Ophir was a region famed for wealth.
Rowing home to haven in sunny Palestine,	Describes a historical journey to Palestine, evoking a sense of biblical and ancient trade.
With a cargo of ivory,	Ivory symbolizes luxury and wealth, part of the prized goods of ancient trade.
And apes and peacocks,	Exotic animals further underscore the opulence of the era being described.
Sandalwood, cedarwood, and sweet white wine.	These luxury goods highlight the richness and refinement of ancient maritime commerce.
Stately Spanish galleon coming from the Isthmus,	A grand vessel of the Spanish Empire, associated with colonial exploration and treasure.
Dipping through the tropics by the palm-green shores,	Imagery of tropical landscapes and the romance of maritime travel during the colonial period.
With a cargo of diamonds,	Diamonds signify wealth and the high value of trade during the Age of Exploration.
Emeralds, amythysts,	Precious stones emphasize the luxurious nature of the ship’s cargo.
Topazes, and cinnamon, and gold moidores.	A mix of gemstones and spices highlights the global reach and value of Spanish commerce.
Dirty British coaster with a salt-caked smoke stack,	Contrasts the industrial, grimy nature of modern shipping with earlier eras of romantic trade.
Butting through the channel in the mad March days,	Suggests harsh, unglamorous conditions faced by industrial ships in rough weather.
With a cargo of Tyne coal,	Reflects the utilitarian purpose of industrial ships, carrying coal from Newcastle’s Tyne River.
Road-rails, pig-lead,	Industrial materials underscore the shift from luxury to functionality in maritime trade.
Firewood, iron-ware, and cheap tin trays.	Highlights mundane and low-value goods, symbolizing the decline in maritime romance.

Literary And Poetic Devices: “Cargoes” by John Masefield

Device	Example	Explanation
Alliteration	“Salt-caked smoke stack”	Repetition of the ‘s’ sound creates a rhythmic effect and emphasizes the grimy industrial setting.
Allusion	“Quinquireme of Nineveh”	Refers to historical and biblical trade, connecting the poem to a broader cultural context.
Anaphora	“With a cargo of…”	Repetition of this phrase emphasizes the richness and variety of goods in each stanza.
Antithesis	Contrast between ancient luxury and industrial mundanity	Highlights the shift from opulent maritime trade to utilitarian modern shipping.
Assonance	“Sunny Palestine”	Repetition of the ‘i’ sound creates a smooth and melodic quality to the line.
Caesura	“Dirty British coaster with a salt-caked smoke stack,”	The comma introduces a pause, mirroring the rhythm of thought or observation.
Consonance	“Firewood, iron-ware”	Repetition of ‘r’ and ‘w’ sounds creates a harsh and industrial tone.
Contrast	Between luxurious “ivory” and mundane “coal”	Highlights the decline from romanticized trade to industrial utility.
Enjambment	“Butting through the channel / in the mad March days,”	The continuation of a sentence across lines reflects the relentless motion of the ship.
Imagery	“Palm-green shores”	Vivid description appeals to the senses, painting a picture of tropical landscapes.
Juxtaposition	“Quinquireme of Nineveh” vs. “Dirty British coaster”	Places two contrasting images side by side to underscore the thematic shift in maritime history.
Metaphor	“Rowing home to haven in sunny Palestine”	Suggests peace and fulfillment, comparing the journey to a return to paradise.
Mood	Opulent in the first stanza, grim in the third	The emotional tone shifts to reflect nostalgia and industrial harshness.
Onomatopoeia	“Butting through the channel”	The word “butting” mimics the sound of the ship’s struggle through rough waters.
Personification	“Dirty British coaster…butting through the channel”	The ship is given human-like qualities to emphasize its struggle and purpose.
Rhyme	“Nineveh” and “Ophir”	Creates a subtle internal rhyme to enhance the musical quality of the poem.
Symbolism	“Ivory, apes, peacocks”	Symbols of wealth and exoticism, representing the grandeur of past trade.
Tone	Nostalgic in the first two stanzas, critical in the third	Reflects the thematic progression from admiration to a critique of modernity.
Visual Imagery	“Diamonds, emeralds, amethysts”	Evokes the vivid colors and allure of precious goods.
Word Choice (Diction)	“Cheap tin trays”	The use of “cheap” reflects the degradation in quality and value over time.

Themes: “Cargoes” by John Masefield

• The Romance of Maritime Trade
• The poem celebrates the grandeur and romance of ancient and colonial maritime trade, evoking a sense of wonder through imagery of exotic goods and majestic ships. In the first stanza, the “Quinquireme of Nineveh” is depicted as carrying luxurious items like “ivory,” “apes,” and “peacocks,” symbolizing the wealth and mystery of ancient civilizations. Similarly, the “Spanish galleon” in the second stanza is laden with treasures like “diamonds,” “emeralds,” and “cinnamon,” further idealizing the golden age of exploration. These images romanticize a time when seafaring was a gateway to distant lands and unimaginable riches.
• The Contrast Between Past and Present
• Masefield juxtaposes the opulent imagery of ancient and colonial ships with the stark utilitarianism of modern industrial trade. The final stanza introduces the “dirty British coaster,” carrying mundane and practical goods such as “coal,” “road-rails,” and “cheap tin trays.” This shift from exotic treasures to industrial commodities highlights the decline in the romance of seafaring, reflecting a broader commentary on the impact of industrialization and the loss of aesthetic and cultural richness in modern times.
• The Passage of Time and Cultural Transformation
• The poem reflects on the passage of time and the transformation of cultures and economies. The progression from the ancient “Quinquireme” to the colonial “Spanish galleon” and finally to the modern “British coaster” mirrors the historical evolution of maritime trade and its changing priorities. Where the past celebrated luxury and grandeur, the present focuses on efficiency and practicality. The poem thus becomes a meditation on how time reshapes values, shifting from the exotic to the mundane, and from the beautiful to the functional.
• Human Progress and Its Costs
• While the poem acknowledges the advancements of industrialization, it also critiques its costs, particularly the loss of artistry and connection to nature. The “salt-caked smoke stack” and the “mad March days” of the British coaster convey a sense of harshness and struggle, contrasting sharply with the sunny and tropical imagery of the earlier stanzas. Through this contrast, Masefield suggests that progress, while inevitable, often comes at the expense of beauty, nostalgia, and cultural richness, urging readers to reflect on what is gained and lost in the pursuit of modernity.

Literary Theories and “Cargoes” by John Masefield

Literary Theory	Application to “Cargoes”	References from the Poem
Marxist Criticism	Examines class struggle and the economic implications of trade and industry, highlighting the commodification of goods.	The transition from luxurious “ivory” and “diamonds” to utilitarian “coal” and “cheap tin trays” reflects the economic shift in trade priorities.
Postcolonial Theory	Explores the impact of colonialism on global trade and cultural identity, emphasizing the extraction of resources.	The “Spanish galleon” carrying “gold moidores” and “cinnamon” reflects the exploitative nature of colonial commerce.
Ecocriticism	Analyzes the relationship between humans, nature, and industrialization, critiquing the environmental impact of progress.	The “dirty British coaster with a salt-caked smoke stack” symbolizes industrial pollution and its harsh impact on nature.

Critical Questions about “Cargoes” by John Masefield

• How does Masefield use imagery to contrast the past and present in maritime trade?
• Masefield employs vivid imagery to highlight the contrast between the romanticized past and the utilitarian present. In the first stanza, the “Quinquireme of Nineveh” is laden with luxurious and exotic items like “ivory,” “apes,” and “peacocks,” evoking a sense of grandeur and mystery. Similarly, the second stanza’s “Spanish galleon” carries treasures such as “diamonds,” “emeralds,” and “gold moidores,” symbolizing the wealth of colonial exploration. This romantic imagery sharply contrasts with the third stanza’s portrayal of the “dirty British coaster,” which hauls mundane and industrial goods like “coal,” “road-rails,” and “cheap tin trays.” Through these contrasts, Masefield emphasizes the aesthetic and cultural loss associated with modern industrialization.
• What role does repetition play in shaping the rhythm and structure of the poem?
• Repetition is a key device in “Cargoes” that enhances its musicality and reinforces its themes. The recurring phrase “With a cargo of…” at the beginning of the cargo lists in each stanza creates a rhythmic consistency that mimics the steady movement of ships across the water. This structure also draws attention to the differences between the types of goods carried in each era, highlighting the shift from luxury and exoticism in the first two stanzas to practicality and industrial monotony in the third. The repetition underscores the poem’s central theme: the transformation of maritime trade and its implications for culture and society.
• How does the poem reflect on the impact of industrialization?
• The poem critiques industrialization by juxtaposing its stark utilitarianism with the romanticism of earlier eras. The “dirty British coaster,” with its “salt-caked smoke stack,” represents the harsh and unglamorous reality of modern industrial shipping. The utilitarian goods it carries, such as “coal” and “iron-ware,” signify the practical but uninspiring priorities of industrial economies. This contrasts with the luxurious and exotic items in the earlier stanzas, suggesting that industrial progress, while necessary, has led to a loss of beauty, imagination, and cultural richness in maritime trade.
• How does Masefield address the theme of human progress in the poem?
• Masefield presents human progress as a double-edged sword, celebrating historical achievements while critiquing their costs. The first two stanzas highlight the achievements of ancient and colonial trade, showcasing humanity’s ability to connect distant lands and acquire valuable goods. However, the final stanza introduces a critical perspective, depicting the “dirty British coaster” as a symbol of industrial progress that prioritizes efficiency over elegance. The poem suggests that while humanity has advanced technologically, this progress has come at the expense of the romantic and aesthetic values once associated with seafaring.

Literary Works Similar to “Cargoes” by John Masefield

1. “The Rime of the Ancient Mariner” by Samuel Taylor Coleridge
   Shares a maritime theme and explores the beauty and perils of sea voyages, blending vivid imagery with a deeper moral reflection.
2. “Sea Fever” by John Masefield
   Written by the same poet, this poem similarly captures the allure of the sea, emphasizing the romantic and adventurous spirit of maritime life.
3. “Ozymandias” by Percy Bysshe Shelley
   Though not explicitly about the sea, this poem parallels “Cargoes” in its meditation on the passage of time and the decline of grandeur.
4. “The Ship of State” by Horace (translated)
   Uses nautical imagery to draw metaphors about civilization and progress, akin to Masefield’s thematic exploration of trade and transformation.
5. “Crossing the Bar” by Alfred, Lord Tennyson
   Reflects on the sea as a metaphor for life’s journey and transition, echoing Masefield’s juxtaposition of nostalgia and progression.

Representative Quotations of “Cargoes” by John Masefield

Quotation	Context	Theoretical Perspective
“Quinquireme of Nineveh from distant Ophir”	Introduces the ancient ship and sets a tone of historical and biblical grandeur.	Postcolonial Theory: Reflects on the luxury of ancient trade and its dependence on resource extraction.
“With a cargo of ivory, and apes and peacocks”	Describes exotic goods, symbolizing the wealth and mystery of ancient civilizations.	Marxist Criticism: Highlights the commodification of natural and cultural resources.
“Stately Spanish galleon coming from the Isthmus”	Introduces the colonial era, emphasizing the majesty of exploration and conquest.	Postcolonial Theory: Suggests the dominance of European empires in global trade during the colonial period.
“With a cargo of diamonds, emeralds, amethysts”	Lists precious goods, underscoring the opulence and exploitation of colonial commerce.	Ecocriticism: Reflects on the environmental and cultural costs of exploiting natural resources.
“Dirty British coaster with a salt-caked smoke stack”	Contrasts industrial pragmatism with earlier grandeur, emphasizing the grim reality of modern shipping.	Marxist Criticism: Examines the industrial economy’s prioritization of utility over aesthetic values.
“Butting through the channel in the mad March days”	Evokes the harsh, unromantic struggle of modern industrial vessels.	Ecocriticism: Highlights the environmental challenges and relentless pace of industrialization.
“With a cargo of Tyne coal, road-rails, pig-lead”	Lists utilitarian goods, signifying the shift from luxury to functionality in trade.	Marxist Criticism: Reflects the commodification of everyday goods under industrial capitalism.
“Sandalwood, cedarwood, and sweet white wine”	Represents refined luxury and exotic appeal in ancient trade.	Postcolonial Theory: Suggests the cultural and economic value placed on goods from colonized regions.
“Topazes, and cinnamon, and gold moidores”	Highlights treasures that were central to colonial trade networks.	Postcolonial Theory: Exposes the extractive nature of colonial trade systems.
“Cheap tin trays”	Symbolizes the degradation of trade goods in the industrial era.	Marxist Criticism: Examines the decline in cultural and material value due to mass production.

Suggested Readings: “Cargoes” by John Masefield

1. Dobson, Tom, and John Masefield. “Cargoes/[music by] Tom Dobson;[poem by] John Masefield.” (1920).
2. Nault Jr, Clifford A. “31. Masefield’s Cargoes.” The Explicator 16.5 (1958): 77-79.
3. Davison, Edward, and John Masefield. “The Poetry of John Masefield.” The English Journal, vol. 15, no. 1, 1926, pp. 5–13. JSTOR, https://doi.org/10.2307/802683. Accessed 3 Dec. 2024.
4. Fletcher, John Gould. “John Masefield: A Study.” The North American Review, vol. 212, no. 779, 1920, pp. 548–51. JSTOR, http://www.jstor.org/stable/25120619. Accessed 3 Dec. 2024.
5. Clarke, George Herbert. “John Masefield and Jezebel.” The Sewanee Review, vol. 32, no. 2, 1924, pp. 225–42. JSTOR, http://www.jstor.org/stable/27533755. Accessed 3 Dec. 2024.