As the ship is sinking, Sir Ralph the Rover curses himself for removing the Bell from it's rightful position. "But even in his dying fear / One dreadful sound could the Rover hear, / A sound as if with the Inchcape Bell, / The Devil below was ringing his knell." The last stanza is written in a very powerful way. It says that at his dying hour, the Rover finally understands that he himself had signed his death sentence by removing the bell. The poem is filled with romanticist images and is quite literally understandable. But, if we consider that a ship was an ancient symbol for civilization, the poem acquires a wholly different dimension. Also, the contrast between society and nature then becomes very distinct. We are then presented with the idea of civilization going down the drain just because of some human vices, like envy. Sir Ralph let his jealousy of the Abbot cloud his clear sightedness. When throwing the bell to
I. MUSICAL LIFE IN TARTU AT THE TURN OF THE CENTURY. TRAILBLAZERS: ALEKSANDER LÄTE, RUDOLF TOBIAS, ARTUR KAPP. II. THE FIRST DECADE OF THE 20TH CENTURY. ARTUR LEMBA: THE BEGINNING OF ESTONIAN SYMPHONY AND OPERA. III. NEW DEVELOPMENTS IN CULTURAL AND MUSICAL LIFE: THE END OF THE TSARIST PERIOD. THE INDEPENDENT REPUBLIC OF ESTONIA: THE INTRODUCTION OF INNOVATIONS FROM WESTERN ART AND THE EVOLUTION OF NATIONALLY ORIENTED MUSICAL TRENDS. IV. THE TWENTIES. ARTUR KAPP: ROMANTICIST AND DRAMATIST. V. THE INFLUENCE OF NEW WESTERN MUSICAL TRENDS. HEINO ELLER: A PROGRAMME PAINTER. VI. THE THIRTIES. THE WIDENING OF NATIONAL SYMPHONISM. THE RISE OF ATTENTION TO HISTORY AND FOLKLORE: JUHAN AAVIK, EDUARD TUBIN, EUGEN KAPP. VII. FURTHER MATURING OF SYMPHONIC MUSIC: HEINO ELLER, EVALD AAV, EDUARD TUBIN. THE FIRST ESTONIAN BALLET. SUMMARY OF THE REPUBLICAN PERIOD. HALF A CENTURY UNDER SOVIET OCCUPATION. IDEOLOGY OVER MUSIC.
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