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Marina - Artigas - Iglesias: Analisis Poemas de Lit II PDF
Marina - Artigas - Iglesias: Analisis Poemas de Lit II PDF
www.wuolah.com/student/Marina_Artigas_Iglesias
1198
2º Literatura Inglesa Ii
Facultad de Filología
US - Universidad de Sevilla
Reservados todos los derechos. No se permite la explotación económica ni la transformación de esta obra. Queda permitida la impresión en su
totalidad.
a64b0469ff35958ef4ab887a898bd50bdfbbe91a-990915
POPE
The
rape
of
the
lock
Arabella
Fernor
(Belinda)
Lord
Robert
Petre
(the
Baron)
-‐ In
a
tea
party
he
cut
a
lock
from
her
and
kept
it
as
a
token.
It
caused
controversial.
-‐ Lock:
chastity
belt.
-‐ Homer’s
model:
illiad
and
odyssey.
-‐ Machinery:
introduction
of
supernatural
beings.
Sylphs:
air,
gnomes:
earth(negative
connotations,
erotism),
nymphs:
wáter.
-‐ A
arabella
al
principio
no
le
gusta,
pero
después
si.
-‐ Ironia
y
satira
(arabella
es
la
mas
maravillosa
del
mundo)
Reservados todos los derechos. No se permite la explotación económica ni la transformación de esta obra. Queda permitida la impresión en su totalidad.
-‐ Pope
era
un
misógino
de
mierda
y
presenta
a
Belinda
obsesionada
con
su
belleza
(BIBLIA)
-‐ The
poem
satirises
a
minor
incident
by
comparing
it
to
the
epic
world
of
the
gods.
It
was
based
on
an
actual
incident:
-‐ Arabella
Fermor
and
her
suitor,
Lord
Petre,
were
both
from
aristocratic
recusant
Catholic
families,
at
a
time
in
England
when
Petre,
lusting
after
Arabella,
had
cut
off
a
lock
of
her
hair
without
permission,
and
the
consequent
argument
had
created
a
breach
between
the
two
families.
-‐
He
utilised
the
character
Belinda
to
represent
Arabella
and
introduced
an
entire
system
of
"sylphs",
or
guardian
spirits
of
virgins,
a
parodised
version
of
the
gods
and
goddesses
of
conventional
epic.
-‐ Pope's
poem
uses
the
traditional
high
stature
of
classical
epics
to
emphasise
the
triviality
of
the
incident.
The
abduction
of
Helen
of
Troy
becomes
here
the
theft
of
a
lock
of
hair;
the
gods
become
minute
sylphs;
the
description
of
Achilles'
shield
becomes
an
excursus
on
one
of
Belinda's
petticoats.
He
also
uses
the
epic
style
of
invocations,
lamentations,
exclamations
and
similes,
and
in
some
cases
adds
parody
to
imitation
by
following
the
framework
of
actual
speeches
in
Homer's
Iliad.
Although
the
poem
is
humorous
at
times,
Pope
keeps
a
sense
that
beauty
is
fragile,
and
emphasizes
that
the
loss
of
a
lock
of
hair
touches
Belinda
deeply.
CANTO
1
-‐ The
action
of
the
poem
begins
with
the
rising
sun
awakening
the
residents
of
a
wealthy
household.
Though
everyone,
including
the
lapdogs,
has
risen,
Belinda
remains
asleep.
She
dreams
of
a
handsome
youth
who
informs
her
that
she
is
protected
by
a
“thousand
bright
inhabitants
of
air:”
spirits
that
were
once
human
women
who
now
protect
virgins.
-‐ The
youth
explains
that
after
a
woman
dies,
her
spirit
returns
to
elemental
form;
namely,
to
fire,
water,
earth,
and
air.
Each
element
is
characterized
by
different
types
of
women.
Termagants
or
scolds
become
fire
spirits
or
Salamanders.
Indecisive
women
become
water
spirits.
Prudes
or
women
who
delight
in
rejecting
men
become
Gnomes
(earth
spirits).
Coquettes
become
Sylphs
(air
spirits).
a64b0469ff35958ef4ab887a898bd50bdfbbe91a-990915
-‐ The
dream
is
sent
to
Belinda
by
Ariel,
“her
guardian
Sylph”
(20).
The
Sylphs
are
Belinda’s
guardians
because
they
understand
her
vanity
and
pride,
having
been
coquettes
when
they
were
humans.
-‐ Ariel
warns
Belinda
of
an
impending
“dread
event,”
urging
her
to
“Beware
of
all,
but
most
beware
of
Man”
(109,
114).
Belinda
is
then
awoken
by
her
lapdog,
Shock.
Upon
rising,
she
sees
that
a
billet-‐doux,
or
a
love-‐letter,
has
arrived
for
her,
causing
her
to
forget
the
details
of
the
dream.
-‐ Now
awake,
Belinda
begins
her
elaborate
toilette.
Pope
endows
every
object
from
combs
and
pins
to
billet-‐doux
and
Bibles
with
significance
in
this
ritual
of
dressing:
“Each
silver
vase
in
mystic
order
laid”
(122).
Belinda
herself
is
described
as
a
“goddess,”
looking
at
her
“heavenly
image”
in
the
mirror
(132,
125).
The
elegant
language
and
importance
of
such
objects
thus
elevate
the
process
of
dressing
to
a
sacred
rite.
Reservados todos los derechos. No se permite la explotación económica ni la transformación de esta obra. Queda permitida la impresión en su totalidad.
-‐ The
Sylphs
assist
in
Belinda’s
dressing
routine,
setting
her
hair
and
straightening
her
gown.
Fully
arrayed,
Belinda
emerges
from
her
chamber.
-‐ The
first
verse-‐paragraph
also
introduces
Pope’s
epic
subject
matter:
a
war
arising
from
“amorous
causes”
(1).
Unlike
Menelaus’
fury
at
Paris’
theft
of
Helen
or
Achilles’
quarrel
with
Agamemnon
over
Briseis
in
The
Iliad,
however,
the
poem’s
“mighty
contests
rise
from
trivial
things”
-‐ Pope
uses
the
mock-‐heroic
genre
to
elevate
and
ridicule
his
subjects
simultaneously,
creating
a
satire
that
chides
society
for
its
misplaced
values
and
emphasis
on
trivial
matters.
-‐ much
the
way
that
the
gods
and
goddesses
of
The
Iliad
would
influence
the
progress
of
the
Trojan
War.
Ariel
is
the
guardian
of
Belinda.
-‐ Each
personality
type—scolds,
undecided
women,
prudes,
coquettes—
becomes
a
Salamander,
Nymph,
Gnome,
or
Sylph,
respectively.
These
four
types
are
associated
with
both
the
four
humors
and
the
four
elements.
Having
been
“light
coquettes”
as
human
women,
the
Sylphs
are
most
closely
affiliated
with
Belinda.
Belinda
herself
is
a
coquette
-‐ Pope
explores
the
role
of
the
coquette
in
this
first
canto.
He
demonstrates
that
womanly
priorities
are
limited
to
personal
pleasures
and
social
aspirations
-‐
-‐ Pope
depicts
a
society
that
emphasizes
appearances
rather
than
moral
principles.
This
focus
on
appearance
extends
to
attitudes
towards
honor
and
virtue.
Society
dictates
that
women
remain
chaste
while
enticing
suitable
husbands.
Of
course,
if
a
woman
seemed
to
compromise
herself,
society
would
censure
her
as
though
she
had
lost
her
virtue.
This
concern
about
female
sexuality
represents
the
underlying
anxiety
in
The
Rape
of
the
Lock:
the
theft
of
the
lock
(a
metonymic
substitution
for
Belinda’s
chastity)
creates
the
appearance
of
lost
virtue
-‐ This
depiction
of
Belinda
as
an
epic
hero
establishes
the
mock-‐heroic
motifs
that
occur
throughout
the
poem.
CANTO
2
Belinda
sets
off
for
Hampton
Court
Palace,
traveling
by
boat
on
the
River
Thames.
A
group
of
fashionable
ladies
and
gentlemen
accompanies
her,
but
“every
eye
was
fixed
on
her
alone”
(6).
Her
“lovely
looks”
and
“quick”
eyes
command
the
attention
and
adoration
of
those
who
see
her
(9,
10).
Belinda’s
glittering
raiment
includes
a
“sparkling
cross,”
which
she
wears
on
her
“white
breast,”
inspiring
the
worship
of
her
admirers
(7).
Her
most
striking
attribute
is
the
“two
locks
which
graceful
hung”
in
ringlets
on
her
“ivory
neck”
(20,
22).
Pope
describes
these
curls
as
labyrinths
of
love
intended
for
the
“destruction
of
mankind,”
imprisoning
any
hearts
that
get
caught
in
their
snares
(19).
One
of
her
devotees,
the
Baron,
greatly
admires
her
ringlets
and
has
resolved
to
steal
them
for
himself,
“by
force
[...]
or
by
fraud”
(32).
On
this
particular
morning
he
rose
early
to
build
an
altar
to
Love
at
which
to
pray
for
success
in
this
venture.
He
created
a
pyre
to
makea
sacrifize.
As
the
boat
makes
its
way
to
Hampton
Court,
Belinda
and
her
companions
enjoy
a
lighthearted
journey.
Ariel,
however,
is
anxious,
remembering
the
foretold
“impending
Reservados todos los derechos. No se permite la explotación económica ni la transformación de esta obra. Queda permitida la impresión en su totalidad.
woe”
(54).
Concerned
for
Belinda’s
safety,
he
summons
an
army
of
Sylphs
to
protect
her.
Ariel
charges
a
phalanx
of
Sylphs
to
act
as
her
bodyguards
He
therefore
chooses
fifty
select
Sylphs
to
guard
her
petticoat,
Pope
relies
on
martial
language
to
situate
his
poem
within
the
epic
tradition
and
reinforce
his
satiric
manipulation
of
the
genre.
Much
like
the
combs,
pins,
and
cosmetics
that
Pope
assigns
military
value
in
the
first
canto,
Belinda’s
physical
appearance
is
defined
within
militaristic
terms.
The
beauty
of
her
curls
attracts
admirers,
which
Pope
compares
to
a
trap
meant
to
ensnare
enemies.
he
commands
an
army
of
fifty
Sylphs
to
take
defensive
positions
around
the
petticoat,
ready
to
defend
Belinda’s
virtue
from
amorous
assailants
(119).
Pope,
however,
makes
the
Sylphs’
militaristic
role
ironic:
they
are
not
guarding
against
Belinda’s
failure
but
rather
protecting
her
from
excessive
success
at
attracting
admirers.
Pope
thus
critiques
society’s
contradictory
expectations
with
regard
to
female
sexuality.
he
theft
of
Belinda’s
hair
has
sexual
implications,
specifically
in
the
poem’s
title:
The
Rape
of
the
Lock.
Pope’s
use
of
the
word
“rape”
denotes
explicit
sexuality
in
the
cutting
of
Belinda’s
curls.
Pope’s
word
choice
in
the
second
canto
strengthens
this
sexual
imagery.
The
poem
indicates
that
the
Baron
has
resolved
to
steal
the
locks
“by
force
to
ravish”
(32).
The
use
of
the
words
“force”
and
“ravish”
emphasizes
this
theme
of
sexual
violation.
The
phrase
“by
fraud
betray”
with
regard
to
the
Baron’s
desire
for
the
curls
similarly
equates
the
theft
of
the
lock
with
a
man
taking
advantage
of
a
woman’s
innocence
(32).
The
sexual
implications
of
The
Rape
of
the
Lock
culminate
with
the
locks
themselves.
Though
Pope
describes
Belinda’s
ringlets
as
hanging
down
her
“smooth
ivory
neck,”
the
sexualized
double-‐readings
throughout
the
second
canto
suggest
a
more
explicit
secondary
reading
of
Belinda’s
curls
religious
imagery
He
builds
an
altar—a
feature
of
both
pagan
and
Christian
worship—
to
celebrate
Belinda’s
beauty.
The
poem’s
comic
attitude
towards
religion
implies
that
the
worship
of
beauty
amounts
to
sacrilege.
Pope
crystallizes
this
religious
perversion
in
the
cross
that
Belinda
wears.
The
cross
seems
to
serve
not
a
religious
function
but
rather
an
ornamental
one,
much
like
the
equation
of
the
Bible
with
billet-‐doux
and
French
romances.
Pope
even
sexualizes
this
traditionally
religious
object,
placing
it
on
Belinda’s
“white
breast”.
By
subverting
established
principles
of
religious
worship,
Pope
critiques
society’s
willingness
to
value
appearances
and
other
insignificant
matters
over
a
moral
lifestyle.
Reservados todos los derechos. No se permite la explotación económica ni la transformación de esta obra. Queda permitida la impresión en su totalidad.
WORDSWORTH
A
night
thought
Wordsworth
himself
proclaiming
that
he
enjoys
the
distant
beauty
of
the
moon,
and
even
when
it
is
hidden
behind
the
clouds
beneath
it
it
is
still
admirable
and
beautiful.
The
moon
is
always
bright
as
if
it
were
smiling
constantly,
whereas
man,
who
is
spoiled
by
the
many
pleasures
of
the
earth
along
with
his
fortune,
always
seems
to
have
a
sad
look
upon
his
face.
Wordsworth
enjoys
the
sight
of
the
moon
compared
to
the
chaos
and
turmoil
of
the
world
around
him
that
man
has
created
on
earth
for
themselves
due
to
the
continuous
fighting
from
the
wars.
It
appears
as
if
Wordsworth
is
envious
of
the
peace
that
the
moon
has
about
it.
He
wants
to
go
against
the
same
rule
that
his
fellow
human
beings
have
to
follow.
Basically,
he
wants
to
be
as
happy
and
bright
as
the
moon
always
is.
A
character
This
first
stanza
is
fairly
simple.
It
is
talking
about
how
amazing
it
is
that
humans
can
show
such
a
vast
variety
of
contradicting
emotions
on
one
face.
It
then
goes
on
to
give
examples,
such
as
happy
and
sad,
an
excited
face
and
a
relaxed
one,
or
even
one
that
is
so
deep
in
thought
and
one
that
is
blank.
There's
weakness,
and
strength
both
redundant
and
vain;
Such
strength
as,
if
ever
affliction
and
pain
Could
pierce
through
a
temper
that
is
soft
to
disease,
Would
be
rational
peace-‐-‐a
philosopher's
ease.
contradictions
with
weakness
and
strength,
"redundant
and
vain”.
humans
tend
to
repeat
our
strengths
and
weaknesses.
In
the
next
line
it
refers
to
our
temper,
or
composure
which
is
"soft
to
disease",
it
is
easily
punctured
or
afflicted
by
other
forces
such
as
pain.
It
is
our
strengths
or
our
weaknesses
that
either
stop
or
let
in
this
pain.
They
last
line
is
about
understanding
why
this
happens.
The
human
character's
mind
is
at
peace
from
understanding
that
it
is
our
own
weaknesses
that
have
caused
the
pain
to
get
to
us.
There's
indifference,
alike
when
he
fails
or
succeeds,
And
attention
full
ten
times
as
much
as
there
needs;
a64b0469ff35958ef4ab887a898bd50bdfbbe91a-990915
Pride
where
there's
no
envy,
there's
so
much
of
joy;
And
mildness,
and
spirit
both
forward
and
coy.
In
the
beginning
of
this
stanza
it
gets
back
into
contradictions
of
the
human
character.
It
says
we
act
like
we
don't
care
whether
we
fail
or
succeed,
yet
we
pay
so
much
attention
to
whether
we
do
or
not.
Then
suddenly
towards
the
end
of
this
stanza
we
begin
to
see
positive
qualities
of
the
human
character,
like
pride,
joy,
even
calmness
and
spirit.
Though
in
the
last
line
there
is
still
is
a
contradiction.
The
human
character
is
spirited,
which
means
enthusiastic,
and
energetic,
is
blunt
and
shy.
This
is
makes
something
that
should
be
good
seem
like
it's
not.
There's
freedom,
and
sometimes
a
diffident
stare
Of
shame
scarcely
seeming
to
know
that
she's
there,
Reservados todos los derechos. No se permite la explotación económica ni la transformación de esta obra. Queda permitida la impresión en su totalidad.
There's
virtue,
the
title
it
surely
may
claim,
Yet
wants
heaven
knows
what
to
be
worthy
the
name.
Here
it
begins
talking
about
freedom
and
how
the
human
character
is
not
confident
or
not
aware
that
it
is
there.
Then
it
talks
about
how
many
like
to
call
themselves
virtuous,
but
in
the
next
line
it
says
"yet
heaven
know
what
to
be
worthy
the
name"
referring
to
the
fact
that
no
one
can
really
call
themselves
virtuous
because
nobody
is
perfect.
As
discussed
throughout
the
poem,
everyone
has
their
flaws.
This
picture
from
nature
may
seem
to
depart,
Yet
the
Man
would
at
once
run
away
with
your
heart;
And
I
for
five
centuries
right
gladly
would
be
Such
an
odd
such
a
kind
happy
creature
as
he.
In
the
last
stanza,
the
themes
of
the
poem
are
tied
into
one.
It
talks
about
how
even
though
humankind
is
so
incredibly
flawed
we
still
have
the
ability
to
fall
in
love.
In
the
last
two
lines
the
speaker
says
that
despite
all
this,
they
are
happy
to
be
a
human.
COLERIDGE
Kubla
khan
Coleridge
composed
his
poem,
Kubla
Khan
is
a
state
of
semi-‐conscious
trance
either
in
the
autumn
of
1797
or
spring
of
1798
and
published
in
1816.
The
whole
poem
is
pervaded
by
an
atmosphere
of
dream
and
remains
in
the
form
of
a
vision.
The
vision
embodied
in
Kubla
Khan
was
inspired
by
the
perusal
of
the
travel
book,
Purchas
His
Pilgrimage.
Coleridge
had
taken
a
doze
of
opium
as
an
anodyne,
and
his
eyes
closed
upon
the
line
in
the
book,
“At
Zanadu
Kubla
Khan
built
a
pleasure
palace.”
But
this
opened
his
creative
vision,
and
the
poem
of
about
200
lines
was
composed
in
this
state
of
waking
dream.
On
being
fully
awake,
he
wrote
the
poem
down.
The
theme
of
the
poem
is
unimportant.
It
describes
the
palace
built
by
Kubla
Khan,
the
grandson
of
Chengis
Khan,
the
great
rule
of
central
Asia.
This
poem
is
the
finest
example
of
pure
poetry
removed
from
any
intellectual
content.
Being
essentially
of
the
nature
of
a
dream,
it
enchants
by
the
loveliness
of
its
colour,
artistic
beauty,
and
sweet
harmony.
Its
vision
is
wrought
out
of
the
most
various
sources
–oriented
romance
and
travel
books.
Its
remote
setting
and
its
delicate
imaginative
realism
renders
it
especially
romantic.
The
supernatural
atmosphere
is
evoked
chiefly
through
suggestion
and
association.
The
musical
effect
of
the
poem
is
unsurpassed.
The
main
appeal
of
the
poem
lies
in
its
sound
effects.
The
rhythm
and
even
the
length
of
the
lines
are
varied
to
produce
subtle
effects
of
harmony.
The
whole
poem
is
bound
together
by
a
network
of
alliteration,
the
use
of
liquid
consonants,
and
onomatopoeia.
The
judicious
use
of
hard
consonants
has
given
occasionally
the
effect
of
force
and
harshness.
Reservados todos los derechos. No se permite la explotación económica ni la transformación de esta obra. Queda permitida la impresión en su totalidad.
Where
Alph,
the
sacred
river,
ran
Through
caverns
measureless
to
man
Down
to
a
sunless
sea.
So
twice
five
miles
of
fertile
ground
With
walls
and
towers
were
girdled
round;
And
there
were
gardens
bright
with
sinuous
rills,
Where
blossomed
many
an
incense-‐bearing
tree;
And
here
were
forests
ancient
as
the
hills,
Enfolding
sunny
spots
of
greenery.
In
these
lines
from
the
poem
Kubla
Khan,
the
poet
Samuel
Tayler
Coleridge
narrates
how
Kubla
Khan
ordered
a
stately
pleasure
house
to
be
built
and
what
was
subsequently
done
to
get
it
built.
Kubla
Khan
ordered
the
erection
of
a
magnificent
pleasure
palace
on
the
banks
of
the
sacred
river
‘Alph’
which
flowed
underground
for
a
long
distance
through
unfathomable
caves
into
a
sea
where
the
rays
of
the
sun
could
no
penetrate.
Accordingly,
for
this
purpose,
a
plot
of
fertile
land
covering
ten
miles
was
enclosed
with
walls
and
towers
all
around.
On
one
side
of
this
land,
there
were
gardens
full
of
aromatic
trees
where
sweet-‐smelling
flowers
bloomed.
There
were
meandering
streams
flowing
through
these
gardens
making
the
place
exceedingly
beautiful.
On
the
other
side
of
the
land
were
thick
primeval
forests
as
old
as
the
hills
within
which
there
were
plots
of
grassy
land
warmed
by
the
rays
of
the
sun.
Thus,
Coleridge
creates
a
vaguely
but
suggestive
romantic
palace.
“In
reading
it
“,
Swinburne
observes
about
these
artistic
touches,
“we
are
wrapped
into
that
paradise
where
music
and
colour
and
perfume
are
one;
where
you
hear
the
hues
and
see
the
harmonies
of
heaven.”
Reservados todos los derechos. No se permite la explotación económica ni la transformación de esta obra. Queda permitida la impresión en su totalidad.
And
mid
these
dancing
rocks
at
once
and
ever
It
flung
up
momently
the
sacred
river.
Five
miles
meandering
with
a
mazy
motion
Through
wood
and
dale
the
sacred
river
ran,
Then
reached
the
caverns
measureless
to
man,
And
sank
in
tumult
to
a
lifeless
ocean;
And
’mid
this
tumult
Kubla
heard
from
far
Ancestral
voices
prophesying
war!
While
describing
the
beautiful
grounds,
the
poet
seems
to
have
been
attracted
by
the
most
remarkable
mysterious
chasm
which
stretched
across
the
hill
covered
with
cedar
trees.
It
simply
defied
all
descriptions.
It
was
a
highly
romantic
place
and
wore
a
mysterious
aspect.
It
seemed
an
enchanted
place
haunted
by
demons
and
fairiers
and
frequented
by
a
disappointed
lady-‐love
weeping
for
her
demon-‐lover
under
the
light
of
the
fading
moon.
The
vagueness
and
mystery
of
this
place
suggested
witchcraft
and
its
practice
as
they
are
associated
with
such
surroundings.
From
this
chasm
a
fountain
appeared
and
threw
up
huge
fragments
of
rock
which
tossed
up
and
then
fell
to
the
ground
in
all
directions
like
hail
stones
from
the
sky
or
like
chaff
flying
about
when
crushed
with
a
flail.
From
this
chasm
also
sprang
up
the
sacred
river,
Alph
which
flowed
with
a
zig-‐zag
course
for
five
miles
through
forest
and
valley
and
then
fell
into
the
calm
and
tranquil
ocean
through
the
unfathomable
caverns.
As
it
fell
into
the
ocean,
it
created
a
great
roaring
sound.
In
the
midst
of
this
uproarious
noise
Kubla
Khan
heard
the
voices
of
his
ancestors
prophesying
that
the
time
was
near
when
he
should
indulge
in
ambitious
wars.
In
the
pleasure-‐house
Kubla
Khan
became
addicted
to
luxury
so
his
ancestors
urged
him
to
shake
off
his
lethargic
and
luxurious
life
and
be
ready
to
life
of
adventures
and
wars.
Reservados todos los derechos. No se permite la explotación económica ni la transformación de esta obra. Queda permitida la impresión en su totalidad.
A
damsel
with
a
dulcimer
In
a
vision
once
I
saw:
It
was
an
Abyssinian
maid
And
on
her
dulcimer
she
played,
Singing
of
Mount
Abora.
These
lines
further
describe
the
charms
of
displayed
by
the
pleasure
palace
of
the
emperor
at
Zanadu.
The
pleasure-‐house
of
Kubla
Khan
was
a
very
romantic
and
beautiful
palace.
The
poet
here
says
that
the
reflection
of
the
pleasure-‐dome
fell
between
the
fountains
mingling
with
the
echoing
sound
coming
out
of
the
caves
created
for
the
onlooker
an
illusion
of
a
really
rhythmical
music.
The
palace
was
a
construction
of
a
rare
design
and
a
wonderful
triumph
of
architecture
as
it
combined
in
itself
a
summer
and
a
winter
palace.
The
top
of
the
building
was
warm
because
it
was
open
to
sun
while
the
low-‐lying
chambers
were
kept
cool
by
ice
which
never
melted.
In
the
next
lines
Coleridge
introduces
a
beautiful
girl
brought
from
a
distant
country,
to
complete
the
picture
of
the
romantic
atmosphere.
He
says
that
once
in
his
dream
he
saw
a
girl
who
was
brought
from
Abyssinia.
She
was
singing
of
her
native
land
Abyssinia
and
Mount
Abora.
Helped
by
his
quickened
imagination
he
would
be
able
to
reconstruct
the
whole
scene.
The
long
practice
of
this
divinely
inspired
music
will
enable
him
to
reproduce
the
whole
palace
in
the
air
as
beautiful
and
ethereal
as
the
palace
of
Kubla
Khan
together
with
its
sunny
dome
and
caves
of
ice.
Reservados todos los derechos. No se permite la explotación económica ni la transformación de esta obra. Queda permitida la impresión en su totalidad.
His
inspired
imagination
would
create
“a
willing
suspension
of
disbelief”
and
the
readers
would
feel
that
the
entire
beauty
of
the
palace
has
been
captured
for
them.
They
would
be
struck
with
awe
created
by
his
flashing
eyes,
steaming
hair
and
lips.
His
frenzied
condition
would
frighten
them
so
much
that
they
would
guard
themselves
from
coming
into
close
contact
with
him.
In
order
to
save
themselves
from
being
infected
by
his
magical
charm,
they
would
confine
him
within
a
magical
circle
three
times.
BLAKE
The
tyger
"The
Tyger"
is
the
sister
poem
to
"The
Lamb"
(from
"Songs
of
Innocence"),
a
reflection
of
similar
ideas
from
a
different
perspective
(Blake's
concept
of
"contraries"),
with
"The
Lamb"
bringing
attention
to
innocence.
"The
Tyger"
presents
a
duality
between
aesthetic
beauty
and
primal
ferocity,
and
Blake
believes
that
to
see
one,
the
hand
that
created
"The
Lamb",
one
must
also
see
the
other,
the
hand
that
created
"The
Tyger”:
"Did
he
who
made
the
Lamb
make
thee?"
The
"Songs
of
Experience"
were
written
as
a
contrary
to
the
"Songs
of
Innocence"
–
a
central
tenet
in
Blake's
philosophy,
and
central
theme
in
his
work.[1]
The
struggle
of
humanity
is
based
on
the
concept
of
the
contrary
nature
of
things,
Blake
believed,
and
thus,
to
achieve
truth
one
must
see
the
contraries
in
innocence
and
experience.
Experience
is
not
the
face
of
evil
but
rather
another
facet
of
that
which
created
us.
Kazin
says
of
Blake,
"Never
is
he
more
heretical
than
...
where
he
glories
in
the
hammer
and
fire
out
of
which
are
struck
...
the
Tyger".[1]
Rather
than
believing
in
war
between
good
and
evil
or
heaven
and
hell,
Blake
thought
each
man
must
first
see
and
then
resolve
the
contraries
of
existence
and
life
The
angel
“I
dreamt
a
dream!
What
can
it
mean?
And
that
I
was
a
maiden
Queen
Reservados todos los derechos. No se permite la explotación económica ni la transformación de esta obra. Queda permitida la impresión en su totalidad.
were
in
a
state
of
perfect
innocence,
and
that
innocence
was
guarded
by
an
angel
that
would
not
be
deceived
or
beguiled
by
stupidity
or
sorrow,
but
would
defend
the
innocence
of
its
Queen.
“And
I
wept
both
night
and
day,
And
he
wiped
my
tears
away;
And
I
wept
both
day
and
night,
And
hid
from
him
my
heart’s
delight.”
And
like
any
good
angel,
the
narrator’s
guardian
was
there
for
him,
day
and
night,
night
and
day.
Whenever
there
was
any
kind
of
weeping,
the
angel
would
be
there.
“Weeping,”
of
course,
does
not
have
to
mean
literally
crying.
As
I’m
sure
everyone
reading
this
page
can
attest
to,
growing
up
is
a
long,
difficult
journey,
filled
with
its
fair
share
of
struggle.
And
when
experiencing
hardship,
what
can
compare
to
the
simple
joy
of
being
held
by
another
being,
and
told
sincerely
that
we
are
going
to
be
fine?
Unfortunately,
this
comes
back
to
hurt
the
dreamer,
who
begins
to
hide
their
happiness
from
the
angel.
“So
he
took
his
wings,
and
fled;
Then
the
morn
blushed
rosy
red.
I
dried
my
tears,
and
armed
my
fears
With
ten-‐thousand
shields
and
spears.”
The
angel,
leaves.
This
marks
the
final
transition
of
the
dreamer
into
“growing
up;”
the
morning
rose,
a
new
day,
and
the
dreamer
is
alone
now.
There
is
no
longer
any
need
to
cry
over
falsehoods,
but
there
are
still
reasons
to
cry,
still
fears
out
there
in
the
world
—
so
without
an
angel
nearby,
the
dreamer
arms
their
fears,
and
is
armed
as
well.
“Soon
my
Angel
came
again;
I
was
armed,
he
came
in
vain;
For
the
time
of
youth
was
fled,
And
grey
hairs
were
on
my
head.”
The
angel,
to
his
credit,
returns
to
the
dreamer,
but
it’s
too
late
—
they’ve
grown
up,
chosen
their
approach
to
life,
and
it
is
too
late
to
change.
The
maiden
Queen
has
become
an
independent
ruler,
and
is
armed
against
its
childhood
friend.
The
fact
that
the
dreamer
is
entering
old
enough
age
to
be
finding
grey
hairs
suggests
that
a
lot
of
time
has
passed,
despite
the
use
of
the
word
“soon”
—
this
is,
after
all,
a
dream,
where
time
is
relative.
PERVY
SHELLEY
Love’s
philosophy
The
fountains
mingle
with
the
river
Reservados todos los derechos. No se permite la explotación económica ni la transformación de esta obra. Queda permitida la impresión en su totalidad.
And
the
rivers
with
the
ocean,
The
winds
of
heaven
mix
forever
With
a
sweet
emotion;
The
poem
begins
with
four
lines
describing
how
nature
comes
together.
This
implies
that
it
is
natural
to
be
united,
that
nothing
or
nobody
is
or
should
be
alone.
It
also
shows
a
blanket
connectedness,
that
all
is
connected
to
everything
else
through
a
chain.
The
chain
shown
here
goes
from
a
fountain
to
a
river
to
the
ocean.
Wind
is
everywhere
and,
as
being
so,
is
connected
to
everything.
The
line
that
follows,
“Nothing
in
the
world
is
single;”
directly
states
what
the
first
four
lines
intended
to
show.
It
can
be
inferred
that
the
speaker
will
testify
love
as
another
form
of
connection.
This
is
also
expressed
as
a
“sweet
emotion”
in
a
fourth
line.
This
exhibits
some
personification
for
the
nature
described
at
the
start,
as
rivers
and
oceans
do
not
feel
emotion.
However,
this
is
used
to
make
a
point
of
union
in
nature
and
to
set
up
the
conveyance
of
the
speaker’s
emotion.
All
things
by
a
law
divine
In
one
another’s
being
mingle;
—
Why
not
I
with
thine?
The
last
three
lines
of
the
first
stanza
serve
to
further
indicate
the
speaker
believes
love
is
an
important
relationship
between
people.
He
or
she
clearly
believes
everything
in
the
world
naturally
share
a
relationship.
The
speaker
is
equating
the
connection
between
two
people
to
that
of
different
aspects
of
nature.
In
declaring
these
amorous
feelings,
the
idea
that
intermingling
with
the
object
of
affection
should
also
be
natural.
The
imagery
of
everything
coming
together
was
set
up
as
an
argument
that
the
person
the
speaker
loves
should
understand
and,
hopefully,
reciprocate
his
or
her
feelings.
It
is
especially
compelling
because
it
is
through
a
law
divine,
or
sacred
law,
that
all
bonds
occur.
See
the
mountains
kiss
high
heaven,
And
the
waves
clasp
one
another;
Again,
the
speaker
is
making
use
of
beautiful
and
vivid
imagery
to
make
a
point.
When
looking
at
the
peak
of
a
mountain,
it
can
indeed
appear
to
be
kissing
the
heavens.
The
speaker,
however,
is
likely
alluding
to
the
idea
of
kissing
the
person
to
whom
this
poem
is
dedicated.
In
a
similar
fashion,
the
way
the
“waves
clasp
one
another”
is
a
way
someone
in
love
longs
to
hold
a
loved
one.
This
goes
hand-‐in-‐hand
with
the
notion
that
the
speaker
is
not
only
describing
a
beautiful
scene
in
nature
but
also
hinting
at
a
desire.
Just
as
different
wonders
in
the
world
touch
and
bond
this
way,
he
or
she
longs
to
forge
a
similar
relationship
with
the
loved
one.
Reservados todos los derechos. No se permite la explotación económica ni la transformación de esta obra. Queda permitida la impresión en su totalidad.
No
sister
flower
would
be
forgiven
If
it
disdained
its
brother;
And
the
sunlight
clasps
the
earth,
And
the
moonbeams
kiss
the
sea;
These
lines
further
exhibit
the
attachment
between
everything.
They
serve
to
solidify
the
statement
of
the
earlier
line,
“Nothing
in
the
world
is
single.”
It
is
with
that
belief
system
that
the
lines,
“No
sister
flower
would
be
forgiven
/
If
it
disdained
its
brother;”
are
brought
forth.
Just
as
loyalty
in
the
bond
of
family
is
so
established,
the
speaker
believes
love
should
demonstrate
the
same
loyalty.
The
speaker
believes
the
two
should
intertwine
and
come
together
just
as
everything
else
and
everyone
else.
What
are
all
these
kissings
worth,
If
thou
kiss
not
me?
The
final
lines
insinuate
this
love
is
not
reciprocated.
This
is
in
keeping
with
the
rest
of
the
poem,
in
which
the
speaker
poses
an
argument
using
beautiful
imagery
and
the
nature
of
the
world
and
its
relationships.
If
the
love
were
mutual,
there
would
likely
not
be
a
need
to
make
such
a
strong
point
in
the
declaration.
This
is
accentuated
in
the
final
two
lines,
where
the
speaker
finally
admits
it
all
pales
in
comparison
to
the
kiss
of
the
loved
one.
However,
the
poem
ends
with
a
question
of
significance.
The
speaker
is
pointing
out
that
these
other
connections
may
be
great
and
wonderful,
but
they
crumble
due
to
the
fact
he
or
she
cannot
receive
true
love’s
kiss.
Unfortunately,
the
speaker
is
single
unlike
the
earlier
line
of
the
poem,
“Nothing
in
the
world
is
single.”
This
poem
establishes
itself
as
an
epitome
of
romance
with
such
grand
illustrations
and
emotions.
Mutability
A
first-‐person
poetic
persona
compares
people
to
restless
clouds.
Clouds
speed
brightly
across
the
sky
but
disappear
at
night,
presumably
like
a
human
life.
The
persona
then
compares
people
to
lyres,
stringed
instruments,
that
are
always
playing
different
tunes
based
on
different
experiences.
The
persona
then
complains
that
whether
we
are
asleep
or
awake,
a
bad
dream
or
a
“wandering
thought”
interferes
with
our
happiness.
Whatever
we
think,
however
we
feel,
“It
is
the
same,”
meaning
that
all
will
pass
away
and
people
will
change.
Thus,
the
one
thing
that
endures
is
“Mutability.”
The
purpose
of
the
two
comparisons
is
to
emphasize
the
eternal
human
condition
of
change,
in
other
words,
to
be
mutable.
This
is
both
a
natural
condition,
such
as
the
clouds
that
are
one
minute
here
and
the
next
minute
there,
“restlessly
speeding,
a64b0469ff35958ef4ab887a898bd50bdfbbe91a-990915
gleaming,
quivering,
and
streaking
across
the
dark
night”
only
to
be
soon
thereafter
“lost
for
ever,”
on
the
one
hand,
and
a
human-‐caused
phenomenon,
such
as
a
lyre,
“whose
strings
give
a
various
response
to
various
blasts”
and
on
which
no
new
“modulation
sounds
like
the
last.”
The
point
is
that
all
things,
natural
or
created,
are
always
changing.
Nothing
is
constant.
BYRON
She
walks
in
beauty
The
poet
describes
a
woman
who
“walks
in
beauty,
like
the
night/Of
cloudless
climes
and
starry
skies”
(lines
1-‐2).
Immediately
the
light
of
stars
and
the
shadow
of
night
are
brought
forth
as
contrasts,
foreshadowing
the
further
contrasts
the
poet
notices
regarding
this
beautiful
woman.
Seeing
her
eyes,
he
declares
that
in
her
face
“all
that’s
Reservados todos los derechos. No se permite la explotación económica ni la transformación de esta obra. Queda permitida la impresión en su totalidad.
best
of
dark
and
bright”
are
joined.
Her
beauty
is
contrasted
to
the
“gaudy”
daylight.
In
the
second
stanza,
the
poet
reflects
on
the
balance
in
the
woman’s
beauty:
“One
shade
the
more,
one
ray
the
less”
(line
7)
would
hinder
the
“nameless
grace”
which
surrounds
her.
He
then
turns
to
her
inner
life,
seeing
her
external
beauty
as
an
expression
of
thoughts
that
dwell
in
a
place
(perhaps
her
mind,
or
her
beautiful
head
and
face)
both
“pure”
and
“dear”
(line
18).
The
final
stanza
returns
to
her
face,
but
again
sees
the
silent
expression
of
peace
and
calm
in
her
cheek,
brow,
and
smiles.
Her
pleasant
facial
expressions
eloquently
but
innocently
express
her
inner
goodness
and
peacefulness.
and
tears'.
Clearly,
he
feels
that
on
their
next
meeting,
he
will
still
be
feeling
the
grief
of
the
end
of
their
relationship.
KEATS
When
I
have
fears
that
I
may
cease
to
be
When
I
have
fears
that
I
may
cease
to
be
Before
my
pen
has
gleaned
my
teeming
brain,
Before
high-‐pilèd
books,
in
charactery,
Hold
like
rich
garners
the
full
ripened
grain;
In
the
opening
lines,
the
speaker
has
clearly
identified
one
of
his
fears
for
the
reader.
It
is
not
merely
the
cliché
death
that
worries
the
poet,
but
the
very
specific
and
mildly
Reservados todos los derechos. No se permite la explotación económica ni la transformación de esta obra. Queda permitida la impresión en su totalidad.
unique
fear
that
he
may
not
achieve
his
full
creative
potential
(“full
ripened
grain”)
by
the
time
death
arrives
(in
the
form
of
“high-‐piled
books”
he
has
written).
Such
anxiety
is
relatable
to
any
artist
and
any
human
being
who
is
dissatisfied
with
his
or
her
current
state,
or
those
who
fear
the
limitations
of
life
despite
the
unlimited
nature
of
their
ideas
(before
his
pen
has
even
“gleaned”
his
“teeming
brain”).
The
speaker
looks
up
at
the
sky’s
mighty
constellations,
perhaps
beautiful,
and
he
fears
that
he
will
“cease
to
be”
before
even
tracing
their
shadows.
The
artist’s
job,
of
course,
is
to
trace
or
represent
in
his
or
her
respective
medium—for
that
is
the
definition
of
art.
We
have
thus
established
Keats’s
fear
of
achieving
artistic
success
and
fame
(as
he
will
identify
later).
However,
the
use
of
the
word
romance
can
also
be
taken
in
the
more
cultural
sense
relating
to
romantic
relationships—a
vital
component
of
Keats’s
fears:
The
“and”
tells
the
reader
that
in
addition
to
this
fear
of
failure
in
the
poetic
department,
the
speaker
is
also
concerned
with
having
never
experienced
the
majesty
of
solid
love
or
getting
another
chance
to
see
this
potential
lover
(who
is
limited
by,
and
at
the
mercy
of,
time
as
she
is
but
a
“creature
of
an
hour”).
This
can
be
read
that
the
fear
exists
during
the
present—not
that
he
will
“never
look
upon
[her]
more”
or
“never
have
relish
in
the
fairy
power”
because
he
will
be
dead
but
because
of
the
fact
that
he
will
never
succeed
in
doing
so
in
life
(nor
will
he
have
unlimited
time
to
do
so).
This
establishes
the
second
and
final
components
that
make
up
the
speaker’s
fears:
failure
in
the
realm
of
love.
These
two
aspects
make
up
the
overall
truth
that
can
be
better
generalized
by
saying
that,
“The
speaker
simultaneously
faces
the
opportunities
life
holds
for
him
and
the
threat
of
his
own
untimely
death”
(Fay
7).
When
these
fears
occur,
however,
then
the
speaker
goes
to
the
shore—a
limitation,
a
boundary:
Of
the
wide
world
I
stand
alone,
and
think
Till
Love
and
Fame
to
nothingness
do
sink.
These
last
two
lines
sound
even
more
nihilistic
than
existential,
as
the
reader
might
envision
Keats
himself
standing
alone
on
the
edge
of
the
universe,
trying
to
get
perspective
and
reflect
on
these
fears.
Keats
thinks
that
such
woe
seems
hard
to
despair
because
in
the
end,
these
desires
he
feels
so
panicked
to
attain
despite
time’s
Reservados todos los derechos. No se permite la explotación económica ni la transformación de esta obra. Queda permitida la impresión en su totalidad.
“cruel
hand,”
as
Shakespeare
wrote
in
Sonnet
60,
sink
to
nothingness,
lost
Bright
star
In
the
first
line,
the
poet
expresses
his
desire
for
an
ideal-‐-‐to
be
as
steadfast
as
a
star-‐-‐an
ideal
which
cannot
be
achieved
by
a
human
being
in
this
world
of
change
or
flux,
as
he
comes
to
realize
by
the
end
of
the
poem.
In
fact,
he
is
unable
to
identify
even
briefly
with
the
star;
immediately,
in
line
2,
he
asserts
a
negative,
"not."
And
lines
2-‐8
reject
qualities
of
the
star's
steadfastness
.
Even
the
religious
imagery
is
associated
with
coldness
and
aloneness;
moreover,
the
star
is
cut
off
from
the
beauties
of
nature
on
earth.
Once
the
poet
eliminates
the
non-‐human
qualities
of
the
star,
he
is
left
with
just
the
quality
of
steadfastness.
He
can
now
define
steadfastness
in
terms
of
human
life
on
earth,
in
the
world
of
love
and
movement.
As
in
so
many
poems,
Keats
is
grappling
with
the
paradox
of
the
desire
for
permanence
and
a
world
of
timelessness
and
eternity
(the
star)
while
living
in
a
world
of
time
and
flux.
The
paradox
is
resolved
by
the
end
of
the
poem:
joy
and
fulfillment
are
to
be
found
here,
now
JOANNA BAILLIE
speak,
the
young
bridegroom,
is
shown
to
be
unworried,
and
thrilled
to
be
marrying
such
a
girl.
Assuring
the
parents
“I’m
rich,
though
my
coffer
be
toom,
Wi’
the
blinks
o’
your
bonny
bluee
een.,
Im
prouder
o’
thee
by
my
side.”
the
daughter
is
never
given
a
chance
to
speak
in
the
poem.
Her
only
roll
in
the
poem
is
to
blush,
and
smile
(line
49).
It
seems
that
this
overlook
may
be
a
comment
on
the
social
status
of
young
woman,
and
their
ability
to
control
their
futures.
By
not
giving
Reservados todos los derechos. No se permite la explotación económica ni la transformación de esta obra. Queda permitida la impresión en su totalidad.
the
bride
a
voice
in
the
poem,
Baillie
shows
how
many
young
woman
were
either
forced
into
marriages,
or
sought
out
unhealthy
marriages,
simply
because
it
was
what
society
expected
of
them.
THOMAS
HARDY
A
broken
appointment
The
poem
has
its
origins
in
Hardy’s
thwarted
friendship
with
a
woman
named
Florence
Henniker,
but
of
course
it
transcends
the
narrowly
personal
and
reflects
something
we
have
all
felt.
In
summary,
in
‘A
Broken
Appointment’
Hardy
laments
the
fact
that
his
lover
(or
rather,
would-‐be
lover)
failed
to
turn
up
to
their
arranged
rendezvous:
he’s
been
stood
up.
But
the
longer
he
stood
there,
waiting
for
her
to
show,
the
more
his
feelings
cooled
towards
her
–
not
so
much
because
she
simply
failed
to
turn
up,
but
because
of
what
it
suggests:
that
she
doesn’t
care
for
his
feelings.
Not
liking
him
is
one
thing;
stringing
him
along
and
refusing
to
exhibit
compassion
or
‘lovingkindness’,
is
worse.
In
the
second
stanza,
Hardy
reflects
on
what
this
broken
appointment
means.
The
woman
doesn’t
love
him:
fine.
But,
developing
the
sentiment
he
put
forward
in
the
previous
stanza,
Hardy
goes
on
to
ask
the
absent
woman:
could
she
not
have
found
it
in
her
heart
to
take
pity
on
him,
even
though
she
doesn’t
love
him,
to
come
and
spend
an
hour
with
him
to
‘soothe’
him
and
let
him
down
gently?
Of
course,
the
poem
ends
with
this
question:
no
answer
returns.
The
woman
cannot
answer:
she
isn’t
there.
This
is
a
poem
that
is
also
an
example
of
apostrophe,
an
address
to
someone
who
is
absent.