Chapter: 14. The Coromandel Fishers
A. Answer these questions.
The “wakening skies” are described as praying to the morning light, suggesting they are just beginning to brighten and become active. They call the fish “the leaping wealth of the tide.” The cloud is called their “brother,” and the waves are called their “comrades.” “At the fall of the sun” refers to sunset or dusk. The sound of “the voices we love” is associated with the sweet sands at the full moon. B. Answer these questions with reference to the context.
“To capture the leaping wealth of the tide, for we are the kings of the sea!”
a. “Leaping wealth of the tide” specifically refers to the fish and other marine life that are plentiful and active in the ocean, waiting to be caught.
b. The fishermen are considered “kings of the sea” because they master its challenges, understand its ways, and skillfully harvest its resources, asserting their dominance and control over their domain.
c. This declaration conveys a strong feeling of pride, confidence, and authority in their profession and their relationship with the ocean. “What though we toss at the fall of the sun where the hand of the sea-god drives?”
a. “Toss at the fall of the sun” describes the boat moving erratically, rocking from side to side or up and down, especially as daylight fades or conditions worsen.
b. “The hand of the sea-god drives” implies that the sea’s movements, particularly its rough or turbulent aspects, are controlled by a powerful, almost divine force, suggesting its formidable and sometimes dangerous nature.
c. The implied tone of “What though we toss…” is one of fearlessness, defiance, or nonchalance. It suggests that despite the dangers, they are unafraid and accept the risks as part of their life. C. Think and answer.
The fishermen’s connection to the sea is presented as far more than just a livelihood; it’s a profound spiritual and emotional bond. This is shown through personification where the sea is called their “mother,” the cloud their “brother,” and the waves their “comrades.” This language suggests a familial relationship, implying that the ocean nurtures and sustains them, and its elements are trusted companions. They also find “sweeter” joy in the “kiss of the spray” and the “dance of the wild foam’s glee” than in land comforts, indicating a deep, almost passionate love and belonging to the marine environment. Two examples of evocative imagery include: “The scent of the mango grove”: This appeals to the sense of smell (olfactory imagery). It helps the reader imagine the pleasant, sweet fragrance of ripe mangoes emanating from the trees, creating a vivid picture of a tranquil and pleasant land-based environment. “the dance of the wild foam’s glee”: This appeals to the sense of sight and also evokes a feeling of joy and movement (visual and kinesthetic imagery). It paints a picture of white, lively foam bubbles moving playfully on the waves, giving the impression of vibrant, joyful energy on the sea. While the poem acknowledges the dangers of the sea (e.g., “we toss at the fall of the sun,” “He who holds the storm by the hair”), the aspect that clearly dominates the fishermen’s attitude is joy, pride, and adventure. This is evident in their confident declaration “for we are the kings of the sea!” and their ultimate preference for the sea’s “sweeter” sensations over land comforts. Their eagerness (“No longer delay, let us hasten away”) and the concluding image of rowing towards the horizon suggest an unwavering enthusiasm and a passionate embrace of their challenging yet fulfilling life, emphasizing the allure and triumph of their existence rather than fear. 
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