Category: Poem Analysis

Introduction: “The Village Blacksmith“ by Henry Wadsworth Longfellow

“The Village Blacksmith” by Henry Wadsworth Longfellow first appeared in 1841 as part of his poetry collection Ballads and Other Poems. The poem’s vivid imagery and accessible language made it a staple in American and British textbooks, celebrating themes of hard work, self-reliance, and moral integrity. Its popularity as a textbook poem lies in its evocative depiction of the blacksmith, whose “large and sinewy hands” and “brawny arms” symbolize the dignity of honest labor. The blacksmith embodies virtues of independence and perseverance, as he “looks the whole world in the face, / For he owes not any man.” The poem’s rhythmic narrative and relatable sentimentality—such as the blacksmith’s tearful remembrance of his late wife upon hearing his daughter’s voice “singing in Paradise”—captured the imagination of readers. The concluding lines, “Thus at the flaming forge of life / Our fortunes must be wrought,” resonate as an allegory for shaping character through life’s trials, underscoring its enduring educational appeal.

Text: “The Village Blacksmith“ by Henry Wadsworth Longfellow

Under a spreading chestnut-tree
     ⁠The village smithy stands;
The smith, a mighty man is he,
     With large and sinewy hands,
And the muscles of his brawny arms
     Are strong as iron bands.

His hair is crisp, and black, and long;
     His face is like the tan;
His brow is wet with honest sweat,
     He earns whate’er he can,
And looks the whole world in the face,
     For he owes not any man.

Week in, week out, from morn till night,
     You can hear his bellows blow;
You can hear him swing his heavy sledge,
     With measured beat and slow,
Like a sexton ringing the village bell,
     When the evening sun is low.

And children coming home from school
     Look in at the open door;
They love to see the flaming forge,
     And hear the bellows roar,
And catch the burning sparks that fly
     Like chaff from a threshing-floor.

He goes on Sunday to the church,
     And sits among his boys;
He hears the parson pray and preach,
     He hears his daughter’s voice
Singing in the village choir,
     And it makes his heart rejoice.

It sounds to him like her mother’s voice
     Singing in Paradise!
He needs must think of her once more,
     How in the grave she lies;
And with his hard, rough hand he wipes
     A tear out of his eyes.

Toiling,—rejoicing,—sorrowing,
     Onward through life he goes;
Each morning sees some task begin,
     Each evening sees it close;
Something attempted, something done,
     Has earned a night’s repose.

Thanks, thanks to thee, my worthy friend,
     For the lesson thou hast taught!
Thus at the flaming forge of life
     Our fortunes must be wrought;
Thus on its sounding anvil shaped
     Each burning deed and thought.

Annotations: “The Village Blacksmith” by Henry Wadsworth Longfellow

Literary And Poetic Devices: “The Village Blacksmith” by Henry Wadsworth Longfellow

Themes: “The Village Blacksmith” by Henry Wadsworth Longfellow

1. The Dignity of Hard Work: “The Village Blacksmith” celebrates the dignity and virtue of manual labor through the blacksmith’s life, portraying him as a symbol of perseverance and industriousness. His strength is emphasized through phrases like “the muscles of his brawny arms / Are strong as iron bands,” and his commitment to work is evident as he toils “week in, week out, from morn till night.” The blacksmith’s “honest sweat” signifies the pride he takes in earning a living through sincere effort. Longfellow elevates the blacksmith’s work to a moral plane, suggesting that his labor is not only physically rewarding but spiritually enriching, shaping both his character and his destiny. The line “Each morning sees some task begin, / Each evening sees it close” highlights the satisfaction derived from consistent effort and accomplishment.

2. Self-Reliance and Independence: “The Village Blacksmith” is an ode to self-reliance and financial independence, central tenets of the American ethos. The blacksmith embodies a sense of pride and freedom, as expressed in the lines, “And looks the whole world in the face, / For he owes not any man.” This independence is not just financial but also moral, reflecting his strength of character and ability to live with integrity. The chestnut tree under which his smithy stands is a fitting symbol of stability and rootedness, reinforcing his self-sufficient nature. Longfellow uses the blacksmith to teach a broader lesson on the value of living within one’s means and taking responsibility for one’s own life.

3. The Interplay of Joy, Sorrow, and Resilience: “The Village Blacksmith” captures the complexity of life, weaving together moments of joy, sorrow, and resilience. The blacksmith experiences joy when he hears his daughter’s voice singing in the choir, which “makes his heart rejoice.” Yet this joy is tinged with sorrow as it reminds him of his late wife, whose voice he imagines “singing in Paradise.” The blacksmith’s ability to navigate these emotions and continue “toiling,—rejoicing,—sorrowing” showcases his resilience and fortitude. This interplay of emotions reflects the universal human experience and the capacity to endure hardships while cherishing moments of happiness.

4. The Moral and Spiritual Dimensions of Life: “The Village Blacksmith” transcends the material aspects of the blacksmith’s labor, exploring its moral and spiritual implications. Longfellow uses the metaphor of the forge to represent life, with the blacksmith shaping his character as he shapes metal: “Thus at the flaming forge of life / Our fortunes must be wrought.” The blacksmith’s regular attendance at church and the joy he finds in his daughter’s singing reflect his spiritual grounding. His tearful remembrance of his wife suggests an awareness of life’s transient nature and a connection to a higher realm. These spiritual undercurrents underscore the idea that labor, love, and faith are interconnected and form the foundation of a meaningful life.

Literary Theories and “The Village Blacksmith” by Henry Wadsworth Longfellow

Critical Questions about “The Village Blacksmith” by Henry Wadsworth Longfellow

Literary Works Similar to “The Village Blacksmith” by Henry Wadsworth Longfellow

1. “If—” by Rudyard Kipling
   Shares themes of resilience, hard work, and moral uprightness, emphasizing virtues of perseverance and integrity in the face of life’s challenges.
2. “To a Waterfowl” by William Cullen Bryant
   Like Longfellow’s poem, it uses nature as a metaphor to reflect on human perseverance and the guidance of moral and spiritual forces.
3. “The Man with the Hoe” by Edwin Markham
   Explores the life and dignity of a laborer, highlighting the physical toll of work while addressing broader social and moral implications.
4. “Song of the Open Road” by Walt Whitman
   Celebrates the journey of life and the independence of the individual, resonating with the self-reliance and freedom depicted in “The Village Blacksmith.”
5. “The Builders” by Henry Wadsworth Longfellow
   A poem by the same author, it mirrors the metaphorical use of labor as a symbol for shaping life and character, emphasizing moral diligence and purpose.

Representative Quotations of “The Village Blacksmith” by Henry Wadsworth Longfellow

Suggested Readings: “The Village Blacksmith” by Henry Wadsworth Longfellow

1. Anderson, Jill. “‘Be up and Doing’: Henry Wadsworth Longfellow and Poetic Labor.” Journal of American Studies, vol. 37, no. 1, 2003, pp. 1–15. JSTOR, http://www.jstor.org/stable/27557251. Accessed 9 Jan. 2025.
2. STREET, ANNIE M. “HENRY WADSWORTH LONGFELLOW.” The Journal of Education, vol. 65, no. 4 (1614), 1907, pp. 91–92. JSTOR, http://www.jstor.org/stable/42809853. Accessed 9 Jan. 2025.
3. Longfellow, Henry Wadsworth. Henry Wadsworth Longfellow: Poems & Other Writings (LOA# 118). Vol. 118. Library of America, 2000.
4. “The Village Blacksmith.” The Artist: An Illustrated Monthly Record of Arts, Crafts and Industries (American Edition), vol. 26, no. 237, 1899, pp. 33–35. JSTOR, http://www.jstor.org/stable/25581486. Accessed 9 Jan. 2025.
5. BORDMAN, G. N. “THE VILLAGE BLACKSMITH.” New England Journal of Education, vol. 3, no. 7, 1876, pp. 80–80. JSTOR, http://www.jstor.org/stable/44767815. Accessed 9 Jan. 2025.
6. Grace, David. The Agricultural History Review, vol. 21, no. 2, 1973, pp. 155–155. JSTOR, http://www.jstor.org/stable/40273562. Accessed 9 Jan. 2025.

Introduction: “The Cockerel, The Cat, And The Young Mouse” by Jean de La Fontaine

“The Cockerel, The Cat, And The Young Mouse” by Jean de La Fontaine first appeared in 1668 as part of his celebrated collection Fables. This particular fable, like many others by La Fontaine, is infused with moral teachings conveyed through the anthropomorphic tales of animals. Its main themes revolve around the dangers of deception, the wisdom of caution, and the importance of heeding the advice of elders. The youthful mouse, eager to explore the world, is awestruck by two contrasting figures: a boisterous, harmless cockerel and a cunning, seemingly benign cat. Through the mouse’s naive misjudgments and his mother’s sage correction, La Fontaine illustrates the peril of taking appearances at face value, encapsulated in the memorable lesson: “It is by looks that men deceive.” The fable’s vivid imagery, engaging characters, and relatable moral have made it a staple in educational contexts. Phrases like “Her appetite to treat” and “So far the other is from that, we yet may eat his dainty meat” highlight the elegance of La Fontaine’s verse, ensuring its timeless appeal in classrooms and literary studies alike.

Text: “The Cockerel, The Cat, And The Young Mouse” by Jean de La Fontaine

A youthful mouse, not up to trap,
Had almost met a sad mishap.
The story hear him thus relate,
With great importance, to his mother: –
‘I pass’d the mountain bounds of this estate,
And off was trotting on another,
Like some young rat with nought to do
But see things wonderful and new,
When two strange creatures came in view.
The one was mild, benign, and gracious;
The other, turbulent, rapacious,
With voice terrific, shrill, and rough,
And on his head a bit of stuff
That look’d like raw and bloody meat,
Raised up a sort of arms, and beat
The air, as if he meant to fly,
And bore his plumy tail on high.’

A cock, that just began to crow,
As if some nondescript,
From far New Holland shipp’d,
Was what our mousling pictured so.
‘He beat his arms,’ said he, ‘and raised his voice,
And made so terrible a noise,
That I, who, thanks to Heaven, may justly boast
Myself as bold as any mouse,
Scud off, (his voice would even scare a ghost!)
And cursed himself and all his house;
For, but for him, I should have staid,
And doubtless an acquaintance made
With her who seem’d so mild and good.
Like us, in velvet cloak and hood,
She wears a tail that’s full of grace,
A very sweet and humble face, –
No mouse more kindness could desire, –
And yet her eye is full of fire.
I do believe the lovely creature
A friend of rats and mice by nature.
Her ears, though, like herself, they’re bigger,
Are just like ours in form and figure.
To her I was approaching, when,
Aloft on what appear’d his den,
The other scream’d, – and off I fled.’
‘My son,’ his cautious mother said,
‘That sweet one was the cat,
The mortal foe of mouse and rat,
Who seeks by smooth deceit,
Her appetite to treat.
So far the other is from that,
We yet may eat
His dainty meat;
Whereas the cruel cat,
Whene’er she can, devours
No other meat than ours.’

Remember while you live,
It is by looks that men deceive.

Annotations: “The Cockerel, The Cat, And The Young Mouse” by Jean de La Fontaine

Literary And Poetic Devices: “The Cockerel, The Cat, And The Young Mouse” by Jean de La Fontaine

Themes: “The Cockerel, The Cat, And The Young Mouse” by Jean de La Fontaine

1. The Danger of Deception: One of the central themes of “The Cockerel, The Cat, And The Young Mouse” is the peril of being deceived by appearances. The young mouse views the cat as “mild, benign, and gracious,” with “a very sweet and humble face,” completely unaware of its predatory nature. The cat’s outward charm and graceful demeanor mask its true intent to harm the mouse, serving as a vivid metaphor for how individuals can be misled by external appearances. The mother mouse’s warning—“It is by looks that men deceive”—drives home the moral, cautioning against trusting surface impressions without deeper understanding. This theme reflects La Fontaine’s broader critique of superficial judgments in human society.

2. Wisdom Through Experience: The poem emphasizes the value of experience and the guidance of elders. The young mouse, eager to explore and “see things wonderful and new,” misinterprets the behaviors of both the cock and the cat. While he views the harmless cock as threatening and the dangerous cat as friendly, it is only through his mother’s wisdom that he learns the truth. Her insight—rooted in experience—saves him from future harm. This theme reinforces the importance of learning from those who have lived longer and navigated similar challenges, making the fable a didactic tool for younger audiences.

3. Youthful Naivety and Misjudgment: The story portrays the mouse’s youthful naivety as a key driver of the plot. His adventurous spirit leads him beyond the familiar boundaries of his home, where his lack of understanding causes him to misjudge the animals he encounters. He describes the cock as “turbulent, rapacious, with voice terrific,” exaggerating its harmless crowing into something terrifying. Conversely, the cat’s elegance and calm demeanor convince him she is a “friend of rats and mice by nature.” This stark contrast between reality and perception underscores the theme of youthful misjudgment, illustrating how inexperience often leads to flawed conclusions.

4. Appearances Versus Reality: A recurring theme in La Fontaine’s fables, the tension between appearances and reality is central to this poem. The young mouse assumes that the cat, with its “velvet cloak and hood,” is kind, while he views the cock’s noisy and boisterous behavior as dangerous. In truth, the cat is a predator, and the cock is harmless. This reversal of expectations illustrates how reality often contradicts outward appearances. By highlighting this theme, La Fontaine teaches the reader to question assumptions and look beyond the surface—a lesson reinforced by the mother’s closing advice about the deceptiveness of looks.

Literary Theories and “The Cockerel, The Cat, And The Young Mouse” by Jean de La Fontaine

Critical Questions about “The Cockerel, The Cat, And The Young Mouse” by Jean de La Fontaine

Literary Works Similar to “The Cockerel, The Cat, And The Young Mouse” by Jean de La Fontaine

• “The Spider and the Fly” by Mary Howitt
  • Similarity: Both poems caution against deception and emphasize the dangers of trusting appearances, as seen in the spider’s manipulation of the fly.
• “The Owl and the Pussy-cat” by Edward Lear
  • Similarity: While more whimsical, this poem shares anthropomorphic characters and highlights interactions between animals to deliver subtle commentary on behavior.
• “The Tyger” by William Blake
  • Similarity: Explores themes of perception and inherent nature, much like the deceptive outward appearances of the cat in La Fontaine’s poem.
• “The Raven” by Edgar Allan Poe
  • Similarity: Uses animal symbolism to delve into deeper moral and existential themes, paralleling La Fontaine’s use of animals as allegorical figures.
• “The Walrus and the Carpenter” by Lewis Carroll
  • Similarity: Centers on the cunning nature of its characters and their interactions with innocent beings, mirroring the cat’s deceitful portrayal in La Fontaine’s fable.

Representative Quotations of “The Cockerel, The Cat, And The Young Mouse” by Jean de La Fontaine

Suggested Readings: “The Cockerel, The Cat, And The Young Mouse” by Jean de La Fontaine

1. de La Fontaine, Jean. Selected Fables: A Dual-Language Book. Courier Corporation, 2013.
2.  Shapiro, Norman R., et al. “BOOK VI.” The Complete Fables of Jean de La Fontaine, University of Illinois Press, 2007, pp. 131–52. JSTOR, http://www.jstor.org/stable/10.5406/j.ctt1xcm7h.11. Accessed 10 Jan. 2025.
3. McGowan, Margaret M. “Moral Intention in the Fables of La Fontaine.” Journal of the Warburg and Courtauld Institutes, vol. 29, 1966, pp. 264–81. JSTOR, https://doi.org/10.2307/750719. Accessed 10 Jan. 2025.

Introduction: “Ode to Duty“ by William Wordsworth

“Ode to Duty” by William Wordsworth first appeared in 1807 in his Poems in Two Volumes collection, marking a solemn exploration of morality and human responsibility. This reflective work epitomizes Wordsworth’s shift from youthful romantic idealism to mature contemplation, embracing “Duty” as a moral compass and divine guide. Often described as the “stern Daughter of the Voice of God,” Duty is portrayed as both a “light to guide” and a “rod to check the erring,” embodying justice, discipline, and spiritual enlightenment. The poem’s enduring popularity as a textbook selection lies in its eloquent language, universal themes of ethical striving, and its alignment with classical moral philosophy, as echoed in Seneca’s reflection: “I am not only able to do right, but am unable to do anything but what is right.” Wordsworth’s plea for inner stability—“Give unto me, made lowly wise, / The spirit of self-sacrifice”—resonates with readers across generations, blending a yearning for freedom with the profound realization of the necessity of self-discipline. This synthesis of Romantic individuality and moral universality ensures the poem’s timeless relevance.

Text: “Ode to Duty“ by William Wordsworth

Jam non consilio bonus, sed more eo perductus, ut non tantum recte facere possim, sed nisi recte facere non possim”

“I am no longer good through deliberate intent, but by long habit have reached a point where I am not only able to do right, but am unable to do anything but what is right.”
(Seneca, Letters 120.10)

Annotations: “Ode to Duty” by William Wordsworth

Literary And Poetic Devices: “Ode to Duty” by William Wordsworth

Themes: “Ode to Duty” by William Wordsworth

1. Moral Responsibility and Discipline: The central theme of “Ode to Duty” is the moral responsibility and discipline required to lead a virtuous life. Wordsworth personifies Duty as a “Stern Daughter of the Voice of God,” portraying it as a divine and authoritative force that guides human behavior. The speaker acknowledges the importance of adhering to moral laws that transcend personal desires, stating, “Who art a light to guide, a rod / To check the erring, and reprove.” This dual role of Duty—as both a guide and a disciplinarian—illustrates its essential function in regulating human actions and correcting errors. Wordsworth contrasts the unrestrained pursuit of freedom with the stability that comes from living under the principles of Duty, concluding that such adherence leads to “serene…days and bright” and “happy…nature.” The poem ultimately positions Duty as the cornerstone of a balanced and meaningful life.

2. Human Weakness and the Need for Guidance: Wordsworth explores the theme of human weakness and the necessity of external guidance to overcome moral frailty. He reflects on his own shortcomings, admitting, “I, loving freedom, and untried; / No sport of every random gust, / Yet being to myself a guide, / Too blindly have reposed my trust.” These lines reveal the limitations of relying solely on personal judgment, as untested freedom often leads to error. Wordsworth appeals to Duty to provide the structure and strength needed to navigate life’s challenges: “Oh, let my weakness have an end! / Give unto me, made lowly wise, / The spirit of self-sacrifice.” By invoking Duty as a source of strength and wisdom, Wordsworth underscores humanity’s dependence on moral principles to rise above their imperfections and find inner stability.

3. Harmony Between Duty and Joy: Another prominent theme in the poem is the potential harmony between Duty and joy when individuals align their actions with higher principles. Wordsworth envisions an ideal state where “love is an unerring light, / And joy its own security.” He suggests that true happiness arises when joy and love are guided by moral clarity, resulting in a balanced life. The speaker contrasts this harmonious state with the chaos of unchecked desires, expressing a longing for “a repose that ever is the same.” By presenting Duty as both a stern lawgiver and a benevolent force—”Thou dost wear / The Godhead’s most benignant grace”—Wordsworth conveys that discipline, far from suppressing joy, enhances it by fostering a deeper sense of purpose and fulfillment.

4. Duty as a Universal Force: Wordsworth elevates Duty as a universal principle that governs not only human life but also the natural and cosmic order. He writes, “Thou dost preserve the stars from wrong; / And the most ancient heavens, through Thee, are fresh and strong.” These lines attribute the stability of the universe to the guiding power of Duty, likening it to a cosmic law that ensures harmony and renewal. This universal application of Duty reinforces its timeless and omnipresent nature, transcending individual circumstances. Moreover, the imagery of “flowers laugh before thee on their beds” symbolizes the vitality and balance Duty brings to all aspects of existence. Wordsworth’s portrayal of Duty as a force that governs both the microcosm of individual lives and the macrocosm of the universe underscores its essential role in maintaining order and purpose in creation.

Literary Theories and “Ode to Duty” by William Wordsworth

Critical Questions about “Ode to Duty” by William Wordsworth

Literary Works Similar to “Ode to Duty” by William Wordsworth

1. “The Prelude” by William Wordsworth: Shares themes of self-reflection, personal growth, and the tension between freedom and moral responsibility, central to “Ode to Duty.”
2. “If—” by Rudyard Kipling: Explores the virtues of discipline, humility, and steadfastness, much like Wordsworth’s celebration of moral strength and Duty.
3. “Invictus” by William Ernest Henley: Celebrates the human spirit’s resilience and its ability to triumph through adherence to inner moral codes, resonating with Wordsworth’s view of Duty as a guiding force.
4. “To a Skylark” by Percy Bysshe Shelley: Reflects on idealized values and the aspiration to live a life guided by higher principles, paralleling the lofty ideals of Duty in Wordsworth’s poem.
5. “The Deserted Village” by Oliver Goldsmith: While focusing on societal decay, it invokes themes of responsibility and the moral obligations individuals and societies owe to maintain harmony and virtue, akin to the universal role of Duty.

Representative Quotations of “Ode to Duty” by William Wordsworth

Suggested Readings: “Ode to Duty” by William Wordsworth

1. Manning, Peter J. “Wordsworth’s Intimations Ode and Its Epigraphs.” The Journal of English and Germanic Philology, vol. 82, no. 4, 1983, pp. 526–40. JSTOR, http://www.jstor.org/stable/27709236. Accessed 9 Jan. 2025.
2. Mathison, John K. “Wordsworth’s Ode: ‘Intimations of Immortality from Recollections of Early Childhood.’” Studies in Philology, vol. 46, no. 3, 1949, pp. 419–39. JSTOR, http://www.jstor.org/stable/4172896. Accessed 9 Jan. 2025.
3. Jones, Richard E. “Romanticism Reconsidered: Humanism and Romantic Poetry.” The Sewanee Review, vol. 41, no. 4, 1933, pp. 396–418. JSTOR, http://www.jstor.org/stable/27534918. Accessed 9 Jan. 2025.
4. Esterhammer, Angela. “Wordsworth’s” Ode to Duty”: Miltonic Influence and Verbal Performance.” The Wordsworth Circle 24.1 (1993): 34-37.

Introduction: “The Vanity of Human Wishes” by Samuel Johnson

“The Vanity of Human Wishes” by Samuel Johnson first appeared in 1749, as part of his poetic endeavors, published independently. Inspired by Juvenal’s Tenth Satire, this masterful poem explores the universal follies of human ambition and the transient nature of worldly desires. Johnson employs sharp observation and philosophical depth, opening with the grand lines, “Let observation with extensive view, / Survey mankind, from China to Peru.” The poem critiques humanity’s relentless pursuit of wealth, power, and beauty, which often leads to ruin rather than fulfillment, as captured in lines like, “Wealth heap’d on wealth, nor truth nor safety buys, / The dangers gather as the treasures rise.” Its popularity as a textbook poem stems from its moral gravitas, vivid imagery, and timeless relevance, making it a critical reflection on human frailty and the need for divine guidance. Through compelling examples such as Wolsey’s fall from grandeur and the doomed ambitions of Charles XII, the poem underscores the futility of earthly pursuits and champions faith, virtue, and acceptance of divine will. Its enduring resonance lies in its blend of biting satire and profound wisdom, offering solace through its concluding message of spiritual contentment: “Pour forth thy fervors for a healthful mind, / Obedient passions, and a will resign’d.”

Text: “The Vanity of Human Wishes” by Samuel Johnson

In Imitation of the Tenth Satire of Juvenal

Let observation with extensive view, 
Survey mankind, from China to Peru; 
Remark each anxious toil, each eager strife, 
And watch the busy scenes of crowded life; 
Then say how hope and fear, desire and hate, 
O’erspread with snares the clouded maze of fate, 
Where wav’ring man, betray’d by vent’rous pride, 
To tread the dreary paths without a guide, 
As treach’rous phantoms in the mist delude, 
Shuns fancied ills, or chases airy good. 
How rarely reason guides the stubborn choice, 
Rules the bold hand, or prompts the suppliant voice, 
How nations sink, by darling schemes oppress’d, 
When vengeance listens to the fool’s request. 
Fate wings with ev’ry wish th’ afflictive dart, 
Each gift of nature, and each grace of art, 
With fatal heat impetuous courage glows, 
With fatal sweetness elocution flows, 
Impeachment stops the speaker’s pow’rful breath, 
And restless fire precipitates on death. 
 But scarce observ’d, the knowing and the bold, 
Fall in the gen’ral massacre of gold; 
Wide-wasting pest! that rages unconfin’d, 
And crowds with crimes the records of mankind;
For gold his sword the hireling ruffian draws, 
For gold the hireling judge distorts the laws; 
Wealth heap’d on wealth, nor truth nor safety buys, 
The dangers gather as the treasures rise. 
Let hist’ry tell where rival kings command, 
And dubious title shakes the madded land, 
When statutes glean the refuse of the sword, 
How much more safe the vassal than the lord:
Low sculks the hind beneath the rage of pow’r, 
And leaves the wealthy traitor in the Tow’r, 
Untouch’d his cottage, and his slumbers sound, 
Tho’ confiscation’s vultures hover round. 
 The needy traveller, serene and gay, 
Walks the wild heath, and sings his toil away. 
Does envy seize thee? crush th’ upbraiding joy, 
Increase his riches and his peace destroy, 
New fears in dire vicissitude invade, 
The rustling brake alarms, and quiv’ring shade, 
Nor light nor darkness bring his pain relief. 
One shews the plunder, and one hides the thief. 
Yet still one gen’ral cry the skies assails, 
And gain and grandeur load the tainted gales, 
Few know the toiling statesman’s fear or care, 
Th’ insidious rival and the gaping heir. 
 Once more, Democritus, arise on earth, 
With cheerful wisdom and instructive mirth, 
See motley life in modern trappings dress’d, 
And feed with varied fools th’ eternal jest: 
Thou who couldst laugh where want enchain’d caprice, 
Toil crush’d conceit, and man was of a piece; 
Where wealth unlov’d without a mourner died; 
And scarce a sycophant was fed by pride; 
Where ne’er was known the form of mock debate, 
Or seen a new-made mayor’s unwieldy state; 
Where change of fav’rites made no change of laws, 
And senates heard before they judg’d a cause; 
How wouldst thou shake at Britain’s modish tribe, 
Dart the quick taunt, and edge the piercing gibe? 
Attentive truth and nature to descry, 
And pierce each scene with philosophic eye. 
To thee were solemn toys or empty show, 
The robes of pleasure and the veils of woe: 
All aid the farce, and all thy mirth maintain, 
Whose joys are causeless, or whose griefs are vain. 
 Such was the scorn that fill’d the sage’s mind, 
Renew’d at ev’ry glance on humankind; 
How just that scorn ere yet thy voice declare, 
Search every state, and canvas ev’ry pray’r. 
 Unnumber’d suppliants crowd Preferment’s gate, 
Athirst for wealth, and burning to be great; 
Delusive Fortune hears the incessant call, 
They mount, they shine, evaporate, and fall. 
On ev’ry stage the foes of peace attend, 
Hate dogs their flight, and insult mocks their end. 
Love ends with hope, the sinking statesman’s door 
Pours in the morning worshiper no more; 
For growing names the weekly scribbler lies, 
To growing wealth the dedicator flies, 
From every room descends the painted face, 
That hung the bright palladium of the place, 
And smok’d in kitchens or in auctions sold, 
To better features yields the frame of gold; 
For now no more we trace in ev’ry line,
Heroic worth, benevolence divine: 
The form distorted justifies the fall, 
And detestation rids th’ indignant wall. 
    But will not Britain hear the last appeal,
Sign her foes doom, or guard her fav’rites’ zeal?
Through freedom’s sons no more remonstrance rings,
Degrading nobles, and controlling kings;
Our supple tribes repress their patriot throats,
And ask no question but the price of votes;
With weekly libels and septennial ale,
Their wish is full to riot and to rail
 In full-blown dignity see Wolsey stand,
Law in his voice, and fortune in his hand;
To him the church, the realm, their powers consign,
Through him the rays of regal bounty shine;
Turn’d by his nod the stream of honour flows,
His smile alone security bestows:
Still to new heights his restless wishes tour;
Claim leads to claim, and pow’r advances pow’r;
Till conquest unresisted ceas’d to please,
And rights submitted, left him none to seize.
At length his sov’reign frowns—the train of state
Mark the keen glance, and watch the sign to hate;
Where’er he turns he meets a stranger’s eye,
His suppliants scorn him, and his followers fly;
Now drops at once the pride of awful state,
The golden canopy, the glitt’ring plate,
The regal palace, the luxurious board,
The liv’ried army, and the menial lord.
With age, with cares, with maladies oppress’d,
He seeks the refuge of monastic rest.
Grief aids disease, remember’d folly stings,
And his last sighs reproach the faith of kings.
Speak thou, whose thoughts at humble peace repine,
Shall Wolsey’s wealth, with Wolsey’s end, be thine?
Or liv’st thou now, with safer pride content,
The wisest justice on the banks of Trent?
For why did Wolsey, near the steeps of fate,
On weak foundations raise th’ enormous weight?
Why but to sink beneath misfortune’s blow
With louder ruin to the gulphs below?
What gave great Villiers to the assassin’s knife,
And fix’d disease on Harley’s closing life?
What murder’d Wentworth, and what exil’d Hyde,
By kings protected, and to kings ally’d?
What but their wish indulg’d, in courts to shine,
And pow’r too great to keep or to resign?
 When first the college rolls receive his name, 
The young enthusiast quits his ease for fame; 
Resistless burns the fever of renown,
Caught from the strong contagion of the gown:
O’er Bodley’s dome his future labours spread, 
And Bacon’s mansion trembles o’er his head. 
Are these thy views? proceed, illustrious youth, 
And virtue guard thee to the throne of Truth! 
Yet should thy soul indulge the gen’rous heat, 
Till captive Science yields her last retreat; 
Should Reason guide thee with her brightest ray,
And pour on misty doubt resistless day; 
Should no false kindness lure to loose delight, 
Nor praise relax, nor difficulty fright; 
Should tempting novelty thy cell refrain, 
And sloth effuse her opiate fumes in vain; 
Should beauty blunt on fops her fatal dart, 
Nor claim the triumph of a letter’d heart; 
Should no disease thy torpid veins invade, 
Nor melancholy’s phantoms haunt thy shade; 
Yet hope not life from grief or danger free, 
Nor think the doom of man revers’d for thee: 
Deign on the passing world to turn thine eyes, 
And pause awhile from learning, to be wise; 
There mark what ills the scholar’s life assail, 
Toil, envy, want, the patron, and the jail. 
See nations slowly wise, and meanly just, 
To buried merit raise the tardy bust. 
If dreams yet flatter, once again attend, 
Hear Lydiat’s life, and Galileo’s end. 
 Nor deem, when learning her last prize bestows 
The glitt’ring eminence exempt from foes; 
See when the vulgar ‘scapes despis’d or aw’d, 
Rebellion’s vengeful talons seize on Laud. 
From meaner minds, though smaller fines content,
The plunder’d palace, or sequester’d rent; 
Mark’d out by dangerous parts he meets the shock, 
And fatal learning leads him to the block: 
Around his tomb let art and genius weep, 
But hear his death, ye blockheads, hear and sleep. 
    The festal blazes, the triumphal show,
The ravish’d standard, and the captive foe,
The senate’s thanks, the Gazette’s pompous tale,
With force resistless o’er the brave prevail.
Such bribes the rapid Greek o’er Asia whirl’d,
For such the steady Romans shook the world;
For such in distant lands the Britons shine,
And stain with blood the Danube or the Rhine;
This power has praise, that virtue scarce can warm,
Till fame supplies the universal charm.
Yet reason frowns on war’s unequal game,
Where wasted nation’s raise a single name,
And mortgag’d states their grandsire’s wreaths regret,
From age to age in everlasting debt;
Wreaths which at last the dear-bought right convey,
To rust on medals, or on stones decay.
    On what foundation stands the warrior’s pride,
How just his hopes, let Swedish Charles decide;
A frame of adamant, a soul of fire,
No dangers fright him, and no labours tire;
O’er love, o’er fear, extends his wide domain,
Unconquer’d lord of pleasure and of pain;
No joys to him pacific scepters yield,
War sounds the trump, he rushes to the field;
Behold surrounding kings their power combine,
And one capitulate, and one resign;
Peace courts his hand, but spreads her charms in vain;
“Think nothing gain’d,” he cries, “till nought remain,
“On Muscow’s walls till Gothic standards fly,
“And all be mine beneath the polar sky.”
The march begins in military state,
And nations on his eye suspended wait;
Stern famine guards the solitary coast,
And winter barricades the realms of frost;
He comes, nor want nor cold his course delay;
Hide, blushing glory, hide Pultowa’s day:
The vanquish’d hero leaves his broken bands,
And shews his miseries in distant lands;
Condemn’d a needy supplicant to wait,
While ladies interpose, and slaves debate.
But did not chance at length her error mend?
Did no subverted empire mark his end?
Did rival monarchs give the fatal wound?
Or hostile millions press him to the ground?
His fall was destin’d to a barren strand,
A petty fortress, and a dubious hand;
He left the name at which the world grew pale,
To point a moral, or adorn a tale.
    All times their scenes of pompous woes afford,
From Persia’s tyrant to Bavaria’s lord,
In gay hostility, and barb’rous pride,
With half mankind embattled at his side,
Great Xerxes comes to seize the certain prey,
And starves exhausted regions in his way;
Attendant flattery counts his myriads o’er,
Till counted myriads sooth his pride no more;
Fresh praise is try’d, till madness fires his mind,
The waves he lashes, and enchains the wind;
New pow’rs are claim’d, new pow’rs are still bestow’d,
Till rude resistance lops the spreading god;
The daring Greeks deride the marital show,
And heap their valleys with the gaudy foe;
Th’ insulted sea with humbler thoughts he gains,
A single skiff to speed his flight remains:
Th’ encumber’d oar scarce leaves the dreaded coast
Through purple billows and a floating host.
   The bold Bavarian, in a luckless hour,
Tries the dread summits of Caesarean power,
With unexpected legions bursts away,
And sees defenceless realms receive his sway;
Short sway! fair Austria spreads her mournful charms,
The queen, the beauty, sets the world in arms;
From hill to hill the beacon’s rousing blaze
Spreads wide the hope of plunder and of praise.
The fierce Croatian, and the wild Hussar,
With all the sons of ravage crowd the war;
The baffled prince in honour’s flattering bloom
Of hasty greatness finds the fatal doom;
His foes’ derision, and his subjects’ blame,
And steals to death from anguish and from shame.
 Enlarge my life with multitude of days, 
In health, in sickness, thus the suppliant prays; 
Hides from himself his state, and shuns to know
That life protracted is protracted woe. 
Time hovers o’er, impatient to destroy, 
And shuts up all the passages of joy: 
In vain their gifts the bounteous seasons pour, 
The fruit autumnal, and the vernal flower, 
With listless eyes the dotard views the store, 
He views, and wonders that they please no more; 
Now pall the tasteless meats, and joyless wines, 
And luxury with sighs her slave resigns. 
Approach, ye minstrels, try the soothing strain, 
And yield the tuneful lenitives of pain: 
No sounds, alas! would touch th’ impervious ear, 
Though dancing mountains witness’d Orpheus near; 
Nor lute nor lyre his feeble pow’rs attend, 
Nor sweeter music of a virtuous friend, 
But everlasting dictates crowd his tongue, 
Perversely grave, or positively wrong. 
The still returning tale, and ling’ring jest, 
Perplex the fawning niece and pamper’d guest;
While growing hopes scarce awe the gathering sneer, 
And scarce a legacy can bribe to hear; 
The watchful guests still hint the last offence, 
The daughter’s petulance, the son’s expence, 
Improve his heady rage with treach’rous skill, 
And mould his passions till they make his will. 
 Unnumber’d maladies his joints invade, 
Lay siege to life and press the dire blockade; 
But unextinguish’d Av’rice still remains, 
And dreaded losses aggravate his pains; 
He turns, with anxious heart and crippled hands, 
His bonds of debt, and mortgages of lands; 
Or views his coffers with suspicious eyes, 
Unlocks his gold, and counts it till he dies. 
 But grant, the virtues of a temp’rate prime 
Bless with an age exempt from scorn or crime; 
An age that melts with unperceiv’d decay, 
And glides in modest innocence away; 
Whose peaceful day benevolence endears, 
Whose night congratulating conscience cheers; 
The gen’ral fav’rite as the gen’ral friend: 
Such age there is, and who could wish its end? 
 Yet ev’n on this her load misfortune flings, 
To press the weary minutes’ flagging wings: 
New sorrow rises as the day returns, 
A sister sickens, or a daughter mourns. 
Now kindred merit fills the sable bier, 
Now lacerated friendship claims a tear. 
Year chases year, decay pursues decay, 
Still drops some joy from with’ring life away; 
New forms arise, and diff’rent views engage, 
Superfluous lags the vet’ran on the stage, 
Till pitying nature signs the last release, 
And bids afflicted worth retire to peace. 
 But few there are whom hours like these await, 
Who set unclouded in the gulfs of fate. 
From Lydia’s monarch should the search descend, 
By Solon caution’d to regard his end, 
In life’s last scene what prodigies surprise, 
Fears of the brave, and follies of the wise? 
From Marlb’rough’s eyes the streams of dotage flow, 
And Swift expires a driv’ler and a show. 
 The teeming mother, anxious for her race, 
Begs for each birth the fortune of a face: 
Yet Vane could tell what ills from beauty spring; 
And Sedley curs’d the form that pleas’d a king. 
Ye nymphs of rosy lips and radiant eyes, 
Whom Pleasure keeps too busy to be wise, 
Whom Joys with soft varieties invite, 
By day the frolic, and the dance by night, 
Who frown with vanity, who smile with art, 
And ask the latest fashion of the heart, 
What care, what rules your heedless charms shall save, 
Each nymph your rival, and each youth your slave? 
Against your fame with fondness hate combines, 
The rival batters, and the lover mines. 
With distant voice neglected virtue calls, 
Less heard and less, the faint remonstrance falls; 
Tir’d with contempt, she quits the slipp’ry reign, 
And pride and prudence take her seat in vain. 
In crowd at once, where none the pass defend, 
The harmless freedom, and the private friend. 
The guardians yield, by force superior plied; 
To int’rest, prudence; and by flatt’ry, pride. 
Here beauty falls betray’d, despis’d, distress’d, 
And hissing infamy proclaims the rest. 
 Where then shall hope and fear their objects find? 
Must dull suspense corrupt the stagnant mind? 
Must helpless man, in ignorance sedate, 
Roll darkling down the torrent of his fate? 
Must no dislike alarm, no wishes rise, 
No cries attempt the mercies of the skies? 
Inquirer, cease, petitions yet remain, 
Which heaven may hear, nor deem religion vain. 
Still raise for good the supplicating voice, 
But leave to heaven the measure and the choice. 
Safe in his pow’r, whose eyes discern afar 
The secret ambush of a specious pray’r. 
Implore his aid, in his decisions rest, 
Secure whate’er he gives, he gives the best. 
Yet when the sense of sacred presence fires, 
And strong devotion to the skies aspires, 
Pour forth thy fervors for a healthful mind, 
Obedient passions, and a will resign’d; 
For love, which scarce collective man can fill; 
For patience, sov’reign o’er transmuted ill; 
For faith, that panting for a happier seat, 
Counts death kind nature’s signal of retreat: 
These goods for man the laws of heaven ordain, 
These goods he grants, who grants the pow’r to gain; 
With these celestial wisdom calms the mind, 
And makes the happiness she does not find.

Annotations: “The Vanity of Human Wishes” by Samuel Johnson

Literary And Poetic Devices: “The Vanity of Human Wishes” by Samuel Johnson

Themes: “The Vanity of Human Wishes” by Samuel Johnson

1. The Futility of Ambition: In “The Vanity of Human Wishes,” Johnson critiques the relentless human pursuit of wealth, power, and status, exposing its futility and destructive consequences. Throughout the poem, examples from history highlight how ambition often leads to downfall rather than fulfillment. For instance, Cardinal Wolsey’s rise to immense power ends in disgrace, as he is “Mark’d by the keen glance” of the king’s disfavor and ultimately dies in monastic isolation (“With age, with cares, with maladies oppress’d”). Similarly, Charles XII of Sweden, who seeks conquest at all costs, faces humiliation and destitution: “Condemn’d a needy supplicant to wait, / While ladies interpose, and slaves debate.” The poem asserts that ambition blinds individuals to their limits and the inevitable decay of worldly success. Johnson’s message is clear: striving for greatness often results in ruin rather than lasting satisfaction.

2. The Corrupting Power of Wealth: In “The Vanity of Human Wishes,” wealth is depicted as a force that corrupts individuals and society. Johnson critiques the obsession with gold, portraying it as a “wide-wasting pest” that fuels greed and crime. He observes that “For gold his sword the hireling ruffian draws, / For gold the hireling judge distorts the laws,” highlighting how wealth undermines morality and justice. The poem emphasizes that the accumulation of riches does not bring safety or happiness; instead, it amplifies danger: “Wealth heap’d on wealth, nor truth nor safety buys, / The dangers gather as the treasures rise.” Johnson’s condemnation of materialism serves as a warning that the pursuit of riches often leads to moral degradation and social instability, leaving individuals more vulnerable than before.

3. The Inevitable Decline of Human Life: In “The Vanity of Human Wishes,” Johnson meditates on the transient nature of human life and the inescapable decay that accompanies age. He illustrates this theme through the imagery of aging, as seen in the lines: “Enlarge my life with multitude of days, / In health, in sickness, thus the suppliant prays.” Even as individuals seek longevity, they are met with “life protracted [as] protracted woe,” emphasizing that a longer life brings increased suffering. Johnson uses historical figures such as Marlborough and Swift to underscore this point, showing how even the great and wise succumb to “streams of dotage” and folly in their final years. The theme reflects a universal truth about human existence: all lives, regardless of status or achievement, end in decline and mortality.

4. The Redemptive Power of Faith and Virtue: In “The Vanity of Human Wishes,” amid the bleak observations of human folly and suffering, Johnson presents faith and virtue as sources of redemption and solace. He encourages readers to trust in divine providence, advocating for spiritual submission over worldly desires: “Safe in his pow’r, whose eyes discern afar / The secret ambush of a specious pray’r.” The poet urges individuals to pray not for material gain but for “a healthful mind, / Obedient passions, and a will resign’d.” This faith in divine wisdom offers the only true path to contentment, as worldly pursuits lead to ruin and despair. Johnson concludes with a vision of spiritual fulfillment, contrasting it with the fleeting pleasures of life: “With these celestial wisdom calms the mind, / And makes the happiness she does not find.” Through this theme, Johnson elevates faith and virtue as the antidotes to humanity’s misguided desires.

Literary Theories and “The Vanity of Human Wishes” by Samuel Johnson

Critical Questions about “The Vanity of Human Wishes” by Samuel Johnson

Literary Works Similar to “The Vanity of Human Wishes” by Samuel Johnson

1. Alexander Pope’s “The Rape of the Lock”
   Similarity: Both poems use satirical tones to critique human folly, with Pope focusing on vanity and trivial pursuits, akin to Johnson’s dissection of ambition and materialism.
2. Thomas Gray’s “Elegy Written in a Country Churchyard”
   Similarity: Gray’s meditation on mortality and the inevitable equality of death resonates with Johnson’s exploration of the futility of worldly pursuits.
3. John Milton’s “Lycidas”
   Similarity: Both poems grapple with the themes of mortality and human ambition, with Milton lamenting the transient nature of life and Johnson critiquing misguided desires.
4. Juvenal’s “Satires” (translated or in poetic form)
   Similarity: Johnson’s work is directly modeled on Juvenal’s “Tenth Satire,” sharing a critique of human desires and the transient nature of success and power.
5. Percy Bysshe Shelley’s “Ozymandias”
   Similarity: Shelley’s reflection on the impermanence of power and human achievements parallels Johnson’s commentary on the fleeting nature of ambition and worldly success.

Representative Quotations of “The Vanity of Human Wishes” by Samuel Johnson

Suggested Readings: “The Vanity of Human Wishes” by Samuel Johnson

1. O’Flaherty, Patrick. “Johnson as Satirist: A New Look at the Vanity of Human Wishes.” ELH, vol. 34, no. 1, 1967, pp. 78–91. JSTOR, https://doi.org/10.2307/2872302. Accessed 6 Jan. 2025.
2. Chapin, Chester. “Johnson’s Intentions in The Vanity of Human Wishes.” Eighteenth-Century Studies, vol. 18, no. 1, 1984, pp. 72–75. JSTOR, http://www.jstor.org/stable/2738307. Accessed 6 Jan. 2025.
3. Sitter, John E. “To ‘The Vanity of Human Wishes’ through the 1740’s.” Studies in Philology, vol. 74, no. 4, 1977, pp. 445–64. JSTOR, http://www.jstor.org/stable/4173950. Accessed 6 Jan. 2025.
4. Boyd, D. V. “Vanity and Vacuity: A Reading of Johnson’s Verse Satires.” ELH, vol. 39, no. 3, 1972, pp. 387–403. JSTOR, https://doi.org/10.2307/2872191. Accessed 6 Jan. 2025.
5. Kniskern, William F. “Satire and the ‘Tragic Quartet’ in The Vanity of Human Wishes.” Studies in English Literature, 1500-1900, vol. 25, no. 3, 1985, pp. 633–49. JSTOR, https://doi.org/10.2307/450500. Accessed 6 Jan. 2025.

Introduction: “The Cat And The Rat” by Jean de La Fontaine

“The Cat and the Rat” by Jean de La Fontaine first appeared in 1668 as part of the initial collection of his Fables, which drew inspiration from Aesopian tradition while embedding moralistic satire. This particular fable examines themes of mistrust, self-preservation, and the transient nature of alliances formed under duress. Through its vivid anthropomorphism—embodied by the cunning cat and skeptical rat—La Fontaine critiques opportunistic behavior and the folly of expecting loyalty from inherently predatory instincts. Its popularity as a textbook poem lies in its accessible narrative and enduring moral lesson: “Alliance from necessity is safe just while it has to be.” These themes, coupled with the sharp, quotable wit of lines like “To thankfulness, or even pity, / Can cats be ever bound by treaty?” make it a cornerstone of moral education and a perennial favorite in literary studies.

Context: “The Cat And The Rat” by Jean de La Fontaine

^[1]

Four creatures, wont to prowl, –
Sly Grab-and-Snatch, the cat,
Grave Evil-bode, the owl,
Thief Nibble-stitch, the rat,
And Madam Weasel, prim and fine, –
Inhabited a rotten pine.
A man their home discover’d there,
And set, one night, a cunning snare.
The cat, a noted early-riser,
Went forth, at break of day,
To hunt her usual prey.
Not much the wiser
For morning’s feeble ray,
The noose did suddenly surprise her.
Waked by her strangling cry,
Grey Nibble-stitch drew nigh:
As full of joy was he
As of despair was she,
For in the noose he saw
His foe of mortal paw.
‘Dear friend,’ said Mrs. Grab-and-Snatch,
‘Do, pray, this cursed cord detach.
I’ve always known your skill,
And often your good-will;
Now help me from this worst of snares,
In which I fell at unawares.
‘Tis by a sacred right,
You, sole of all your race,
By special love and grace,
Have been my favourite –
The darling of my eyes.
‘Twas order’d by celestial cares,
No doubt; I thank the blessed skies,
That, going out to say my prayers,
As cats devout each morning do,
This net has made me pray to you.
Come, fall to work upon the cord.’
Replied the rat, ‘And what reward
Shall pay me, if I dare?’
‘Why,’ said the cat, ‘I swear
To be your firm ally:
Henceforth, eternally,
These powerful claws are yours,
Which safe your life insures.
I’ll guard from quadruped and fowl;
I’ll eat the weasel and the owl.’
‘Ah,’ cried the rat, ‘you fool!
I’m quite too wise to be your tool.’
He said, and sought his snug retreat,
Close at the rotten pine-tree’s feet.
Where plump he did the weasel meet;
Whom shunning by a happy dodge,
He climb’d the hollow trunk to lodge;
And there the savage owl he saw.
Necessity became his law,
And down he went, the rope to gnaw.
Strand after strand in two he bit,
And freed, at last, the hypocrite.
That moment came the man in sight;
The new allies took hasty flight.

A good while after that,
Our liberated cat
Espied her favourite rat,
Quite out of reach, and on his guard.
‘My friend,’ said she, ‘I take your shyness hard;
Your caution wrongs my gratitude;
Approach, and greet your staunch ally.
Do you suppose, dear rat, that I
Forget the solemn oath I mew’d?’
‘Do I forget,’ the rat replied,
‘To what your nature is allied?
To thankfulness, or even pity,
Can cats be ever bound by treaty?’

Alliance from necessity
Is safe just while it has to be.

Annotations: “The Cat And The Rat” by Jean de La Fontaine

Literary And Poetic Devices: “The Cat And The Rat” by Jean de La Fontaine

Themes: “The Cat And The Rat” by Jean de La Fontaine

1. Trust and Betrayal: Trust and betrayal are central themes in “The Cat and the Rat,” explored through the complex relationship between the two titular characters. The cat, caught in the noose, pleads for the rat’s help by promising eternal loyalty and protection: “Henceforth, eternally, / These powerful claws are yours.” However, the rat, aware of the cat’s predatory nature, wisely questions her sincerity: “To thankfulness, or even pity, / Can cats be ever bound by treaty?” This skepticism underscores the fragile nature of trust in alliances formed under necessity. By the end of the fable, the rat’s decision to keep his distance after freeing the cat reveals his insight into her true intentions, emphasizing the moral that alliances based on self-interest are inherently unreliable.

2. Self-Preservation: Self-preservation governs the actions of all the characters in “The Cat and the Rat.” From the moment the rat sees the cat trapped, he weighs the risks and rewards of intervening, ultimately acting out of necessity rather than altruism. The line “Necessity became his law, / And down he went, the rope to gnaw” highlights how survival instincts override moral considerations. Even the cat’s desperate plea reflects her desire to escape danger, not genuine friendship: “Do, pray, this cursed cord detach. / I’ve always known your skill, / And often your goodwill.” This theme underscores that survival often compels individuals to act in self-interest, revealing the pragmatic nature of human (or animal) behavior under duress.

3. Deception and Manipulation: Deception is a recurring element in “The Cat and the Rat,” particularly in the cat’s attempts to manipulate the rat. The cat employs flattery, calling the rat her “favourite” and claiming their alliance is divinely ordained: “‘Twas order’d by celestial cares, / No doubt; I thank the blessed skies.” Her use of religious imagery and exaggerated gratitude is a calculated strategy to exploit the rat’s abilities. The rat, however, recognizes this manipulation and refuses to be swayed by her words. This interplay of deceit and awareness illustrates the dangers of blindly trusting those who act out of desperation or self-interest, warning against the seductive power of persuasive rhetoric.

4. The Fragility of Alliances: The fable underscores the fragile and temporary nature of alliances formed out of necessity. The partnership between the cat and the rat in “The Cat and the Rat” is a pragmatic arrangement born of circumstance, rather than mutual respect or trust. The moral at the end explicitly states: “Alliance from necessity / Is safe just while it has to be.” This sentiment is evident when the rat, despite freeing the cat, immediately distances himself, anticipating potential betrayal. Their alliance dissolves the moment external pressure is removed, highlighting the transient and conditional nature of such relationships. Through this theme, La Fontaine critiques the instability of partnerships built on convenience rather than genuine solidarity.

Literary Theories and “The Cat And The Rat” by Jean de La Fontaine

1. Marxist Theory: Marxist literary theory explores class struggles, power dynamics, and exploitation, which are evident in “The Cat and the Rat.” The cat and the rat’s interaction reflects a hierarchical relationship, where the powerful predator (the cat) manipulates the weaker prey (the rat) to serve her interests. When the cat promises protection in return for help—”Henceforth, eternally, / These powerful claws are yours”—she is exploiting the rat’s abilities to escape her predicament. This dynamic mirrors how dominant classes often exploit the working classes under the guise of mutual benefit. However, the rat’s refusal to trust the cat—”I’m quite too wise to be your tool”—shows resistance to such exploitation, embodying the struggle of the oppressed to reclaim agency.

2. Feminist Theory: Feminist theory often examines power, agency, and manipulation in relationships, and this fable offers a subtle critique of gendered dynamics. The cat, referred to as “Mrs. Grab-and-Snatch,” uses charm and emotional appeals to manipulate the rat: “Do, pray, this cursed cord detach. / I’ve always known your skill, / And often your goodwill.” Her calculated plea for help, framed as a reliance on “special love and grace,” echoes societal expectations of women to use emotional intelligence or subterfuge to navigate patriarchal constraints. Meanwhile, the rat’s skepticism—”To thankfulness, or even pity, / Can cats be ever bound by treaty?”—highlights distrust in relationships where power imbalances prevail.

3. Psychoanalytic Theory: Psychoanalytic theory, grounded in Freudian and Jungian concepts, focuses on unconscious motivations and fears. The cat’s behavior reflects a survival-driven id, as her desperation to escape the snare overrides her usual predatory nature: “Now help me from this worst of snares, / In which I fell at unawares.” Her flattery and promises are defense mechanisms rooted in fear. Conversely, the rat’s wariness demonstrates a superego-like caution, resisting the temptation to act impulsively. The owl and the weasel, representing external dangers, heighten the rat’s internal conflict, forcing him to balance his instincts for self-preservation with the pragmatism required to navigate threats.

4. Poststructuralist Theory: Poststructuralism challenges binary oppositions and fixed meanings, making it a relevant lens for analyzing “The Cat and the Rat.” The poem plays with oppositional concepts, such as predator versus prey and trust versus betrayal, showing their fluidity under certain conditions. For instance, the cat and the rat temporarily reverse roles when the trapped predator must rely on her prey for survival: “Dear friend, I swear / To be your firm ally.” This inversion destabilizes the conventional predator-prey hierarchy. The moral—”Alliance from necessity / Is safe just while it has to be”—further questions the permanence of alliances and the stability of relationships, reflecting the poststructuralist view that meaning is contingent and context-dependent.

Critical Questions about “The Cat And The Rat” by Jean de La Fontaine

Literary Works Similar to “The Cat And The Rat” by Jean de La Fontaine

Representative Quotations of “The Cat And The Rat” by Jean de La Fontaine

Suggested Readings: “The Cat And The Rat” by Jean de La Fontaine

1. Jambeck, Karen K. “Textual Explorations: ‘The Fables’ of Marie de France and Beyond.” Le Cygne, no. 6, 2000, pp. 54–67. JSTOR, http://www.jstor.org/stable/44634948. Accessed 8 Jan. 2025.
2. Lyons, John D. “Author and Reader in the Fables.” The French Review, vol. 49, no. 1, 1975, pp. 59–67. JSTOR, http://www.jstor.org/stable/389687. Accessed 8 Jan. 2025.
3. GRAHAM, VICTOR E., editor. “Jean de La Fontaine.” Representative French Poetry (Second Edition), University of Toronto Press, 1965, pp. 20–28. JSTOR, http://www.jstor.org/stable/10.3138/j.ctt1vgw9f8.11. Accessed 8 Jan. 2025.

Introduction: “The Cat And The Old Rat” by Jean de La Fontaine

“The Cat And The Old Rat” by Jean de La Fontaine first appeared in 1668 as part of his collection Fables Choisies Mises en Vers. This poem explores themes of cunning, wisdom, and the perpetual struggle between predator and prey, epitomized in the rivalry of the titular characters. The cat, a metaphor for ruthless strategists, embodies ingenuity and relentless pursuit, while the old rat symbolizes skepticism and survival through caution. Its enduring popularity as a textbook poem lies in its moral lesson, conveyed through vivid imagery and relatable characters. Phrases like “Should you a sack of meal become, / I’d let you be, and stay at home,” underscore the value of prudence over recklessness. The poem’s success is further rooted in its accessible narrative style and universal application to human behavior, making it an educational favorite for centuries.

Text: “The Cat And The Old Rat” by Jean de La Fontaine

A story-writer of our sort
Historifies, in short,
Of one that may be reckon’d
A Rodilard the Second, – ^[2]
The Alexander of the cats,
The Attila,^[3] the scourge of rats,
Whose fierce and whisker’d head
Among the latter spread,
A league around, its dread;
Who seem’d, indeed, determined
The world should be unvermined.
The planks with props more false than slim,
The tempting heaps of poison’d meal,
The traps of wire and traps of steel,
Were only play compared with him.
At length, so sadly were they scared.
The rats and mice no longer dared
To show their thievish faces
Outside their hiding-places,
Thus shunning all pursuit; whereat
Our crafty General Cat
Contrived to hang himself, as dead,
Beside the wall with downward head,
Resisting gravitation’s laws
By clinging with his hinder claws
To some small bit of string.
The rats esteem’d the thing
A judgment for some naughty deed,
Some thievish snatch,
Or ugly scratch;
And thought their foe had got his meed
By being hung indeed.
With hope elated all
Of laughing at his funeral,
They thrust their noses out in air;
And now to show their heads they dare;
Now dodging back, now venturing more;
At last upon the larder’s store
They fall to filching, as of yore.
A scanty feast enjoy’d these shallows;
Down dropp’d the hung one from his gallows,
And of the hindmost caught.
‘Some other tricks to me are known,’
Said he, while tearing bone from bone,
‘By long experience taught;
The point is settled, free from doubt,
That from your holes you shall come out.’
His threat as good as prophecy
Was proved by Mr. Mildandsly;
For, putting on a mealy robe,
He squatted in an open tub,
And held his purring and his breath; –
Out came the vermin to their death.
On this occasion, one old stager,
A rat as grey as any badger,
Who had in battle lost his tail,
Abstained from smelling at the meal;
And cried, far off, ‘Ah! General Cat,
I much suspect a heap like that;
Your meal is not the thing, perhaps,
For one who knows somewhat of traps;
Should you a sack of meal become,
I’d let you be, and stay at home.’

Well said, I think, and prudently,
By one who knew distrust to be
The parent of security.

Annotations: “The Cat And The Old Rat” by Jean de La Fontaine

Literary And Poetic Devices: “The Cat And The Old Rat” by Jean de La Fontaine

Themes: “The Cat And The Old Rat” by Jean de La Fontaine

1. Cunning and Deception: One of the central themes in “The Cat and the Old Rat” is the role of cunning and deception in achieving dominance or survival. The cat employs various deceptive strategies, including feigning death (“Contrived to hang himself, as dead”) and disguising itself in a “mealy robe” to trick the rats into exposing themselves. These acts of deceit highlight the predator’s ingenuity and adaptability, which are critical for its success. This theme underscores the idea that intelligence and strategy often triumph over brute force, as the cat relies on its wits rather than direct confrontation to outsmart the rats. La Fontaine uses this theme to explore how guile can be a powerful tool, especially when confronting those who underestimate their opponents.

2. Survival Through Prudence: The old rat represents the theme of survival through prudence, showcasing how caution and critical thinking can protect against danger. Unlike the other rats, the old rat avoids the poisoned meal, proclaiming, “Ah! General Cat, / I much suspect a heap like that.” His wariness stems from past experiences, such as losing his tail in battle, which taught him the value of distrust. The rat’s refusal to be lured by temptation exemplifies how skepticism can be a protective measure in life-threatening situations. La Fontaine emphasizes this theme in the moral conclusion: “By one who knew distrust to be / The parent of security,” reinforcing the importance of vigilance and wisdom in ensuring safety.

3. The Danger of Complacency: Another key theme in the fable is the danger of complacency and overconfidence, as exemplified by the rats who prematurely celebrate the cat’s supposed death. Believing their enemy has been vanquished, they “thrust their noses out in air” and gleefully begin raiding the larder. This lack of caution leads directly to their demise, as the cat’s trick culminates in their slaughter (“Down dropp’d the hung one from his gallows, / And of the hindmost caught”). La Fontaine uses this theme to warn against the false sense of security that often arises from assuming a problem has been resolved without due diligence.

4. The Balance of Power: The theme of the balance of power is woven throughout the fable, illustrating the constant struggle between predator and prey. Initially, the cat dominates, driving the rats into hiding (“The rats and mice no longer dared / To show their thievish faces”). However, the old rat’s cautious approach shifts the balance, as his prudence prevents him from falling into the cat’s traps. This dynamic reflects the broader reality of power struggles, where shifts in strategy or perspective can alter outcomes. La Fontaine uses the fable to highlight how power is not absolute but often depends on intelligence, adaptability, and the ability to anticipate the actions of others.

Literary Theories and “The Cat And The Old Rat” by Jean de La Fontaine

Critical Questions about “The Cat And The Old Rat” by Jean de La Fontaine

Literary Works Similar to “The Cat And The Old Rat” by Jean de La Fontaine

1. “The Fox and the Crow” by Jean de La Fontaine
   Both poems use anthropomorphic animals to convey a moral lesson, with themes of cunning and the consequences of gullibility.
2. “The Tortoise and the Hare” by Aesop (in poetic adaptations)
   Similar to La Fontaine’s work, this poem features animals symbolizing human traits and teaches a moral about prudence and persistence.
3. “The Frog and the Ox” by Jean de La Fontaine
   Like “The Cat and the Old Rat”, this poem explores the dangers of arrogance and overestimating one’s abilities, using vivid animal characters.
4. “The Spider and the Fly” by Mary Howitt
   This poem shares themes of deception and the perils of naivety, with the fly falling prey to the spider’s manipulative tactics.
5. “The Owl and the Pussycat” by Edward Lear
   Although more whimsical, this poem employs anthropomorphism and animal characters to explore interactions that mirror human behaviors and emotions.

Representative Quotations of “The Cat And The Old Rat” by Jean de La Fontaine

Suggested Readings: “The Cat And The Old Rat” by Jean de La Fontaine

1. La Fontaine, Jean. The complete fables of Jean de la Fontaine. University of Illinois Press, 2007.
2. de La Fontaine, Jean. Once Again, La Fontaine: Sixty More Fables. Wesleyan University Press, 2000.
3. Doré, Gustave. Doré’s Illustrations for the Fables of la Fontaine. Courier Corporation, 2013.
4. McGowan, Margaret M. “Moral Intention in the Fables of La Fontaine.” Journal of the Warburg and Courtauld Institutes, vol. 29, 1966, pp. 264–81. JSTOR, https://doi.org/10.2307/750719. Accessed 8 Jan. 2025.

Introduction: “A Man’s a Man for A’ That” by Robert Burns

“A Man’s a Man for A’ That” by Robert Burns first appeared in 1795 in the collection The Scots Musical Museum. This poem is celebrated as a timeless anthem of egalitarianism, championing the inherent dignity and worth of every individual regardless of their social rank or material wealth. Its enduring popularity as a textbook poem arises from its universal themes of equality, honesty, and the value of character over superficial status, expressed through Burns’ masterful use of Scots vernacular. Phrases like “The rank is but the guinea’s stamp, The Man’s the gowd for a’ that” underscore the idea that human worth is not determined by titles or riches but by inner virtue. Similarly, “That Man to Man the warld o’er Shall brithers be for a’ that” envisions a future of global fraternity, making the poem a rallying cry for equality and unity. Its resonant message and lyrical charm ensure its place in literary and educational settings worldwide.

Text: “A Man’s a Man for A’ That” by Robert Burns

Is there for honest Poverty
That hings his head, an’ a’ that;
The coward-slave, we pass him by,
We dare be poor for a’ that!
For a’ that, an’ a’ that.
Our toils obscure an’ a’ that,
The rank is but the guinea’s stamp,
The Man’s the gowd for a’ that.

What though on hamely fare we dine,
Wear hoddin grey, an’ a that;
Gie fools their silks, and knaves their wine;
A Man’s a Man for a’ that:
For a’ that, and a’ that,
Their tinsel show, an’ a’ that;
The honest man, tho’ e’er sae poor,
Is king o’ men for a’ that.

Ye see yon birkie ca’d a lord,
Wha struts, an’ stares, an’ a’ that,
Tho’ hundreds worship at his word,
He’s but a coof for a’ that.
For a’ that, an’ a’ that,
His ribband, star, an’ a’ that,
The man o’ independent mind,
He looks an’ laughs at a’ that.

A Prince can mak a belted knight,
A marquis, duke, an’ a’ that!
But an honest man’s aboon his might –
Guid faith, he mauna fa’ that!
For a’ that, an’ a’ that,
Their dignities, an’ a’ that,
The pith o’ Sense an’ pride o’ Worth
Are higher rank than a’ that.

Then let us pray that come it may,
As come it will for a’ that,
That Sense and Worth, o’er a’ the earth
Shall bear the gree an’ a’ that.
For a’ that, an’ a’ that,
It’s comin yet for a’ that,
That Man to Man the warld o’er
Shall brithers be for a’ that.

Annotations: “A Man’s a Man for A’ That” by Robert Burns

Literary And Poetic Devices: “A Man’s a Man for A’ That” by Robert Burns

Themes: “A Man’s a Man for A’ That” by Robert Burns

1. Equality and Human Dignity: Burns passionately argues that a person’s worth is determined by their character, not by their social rank, wealth, or outward appearance. This theme is encapsulated in the lines, “The rank is but the guinea’s stamp, The Man’s the gowd for a’ that”. Here, Burns metaphorically likens social rank to a mere stamp on a coin, emphasizing that true value lies in the “gold” of one’s humanity. The refrain “For a’ that, an’ a’ that” reinforces the belief that no external trappings of power or status can outweigh the dignity of being honest and virtuous. This universal principle resonates with readers, calling for a reevaluation of societal hierarchies and prejudices.

2. Critique of Aristocracy and Social Hierarchies: Burns critiques the superficiality of titles and aristocratic privileges, contrasting them with the inherent worth of an independent, honest individual. He derides figures of power with lines like “Tho’ hundreds worship at his word, He’s but a coof for a’ that”, exposing the folly of blindly idolizing those in high ranks. The poem dismisses material markers of status, such as “ribband, star, an’ a’ that”, as meaningless compared to the moral integrity of a “man o’ independent mind.” This theme directly challenges the entrenched class systems of Burns’s time, making the poem a radical statement on social equality.

3. The Virtue of Honesty and Integrity: Burns places immense value on honesty and integrity, even in the face of poverty or hardship. The line “The honest man, tho’ e’er sae poor, Is king o’ men for a’ that” elevates moral character above all else, declaring that honesty is a regal trait in its own right. Burns celebrates the courage to remain true to one’s principles, as seen in “We dare be poor for a’ that!” This theme resonates deeply with the working-class audience of his era and beyond, highlighting the inner wealth of those who prioritize virtue over material gain.

4. Hope for Universal Brotherhood: The poem concludes with a vision of a world united by shared humanity and equality. Burns’s optimism shines in the lines, “That Man to Man the warld o’er Shall brithers be for a’ that”. He envisions a future where societal divisions dissolve, and mutual respect prevails. This theme of universal brotherhood is reinforced by the prayer-like plea in “Then let us pray that come it may, As come it will for a’ that”, expressing faith in the eventual triumph of reason, worth, and equality. It speaks to Burns’s belief in the enduring potential for progress and unity among all people.

Literary Theories and “A Man’s a Man for A’ That” by Robert Burns

Critical Questions about “A Man’s a Man for A’ That” by Robert Burns

Literary Works Similar to “A Man’s a Man for A’ That” by Robert Burns

1. “If—” by Rudyard Kipling
   Similar in its moral emphasis on character and integrity, this poem celebrates the virtues of resilience, humility, and self-worth regardless of circumstances.
2. “Song of Myself” by Walt Whitman
   Whitman’s celebration of individuality and equality resonates with Burns’s themes of intrinsic human dignity and rejection of societal hierarchies.
3. “Invictus” by William Ernest Henley
   This poem shares Burns’s defiant tone and focus on the independent human spirit, emphasizing self-reliance and moral strength in adversity.
4. “Ode to Duty” by William Wordsworth
   Similar to Burns’s poem, it reflects on the virtues of honesty, morality, and responsibility as higher values than wealth or status.
5. “The Village Blacksmith” by Henry Wadsworth Longfellow
   Longfellow’s portrayal of the honest laborer echoes Burns’s reverence for the hardworking and virtuous common man over the aristocracy.

Representative Quotations of “A Man’s a Man for A’ That” by Robert Burns

Suggested Readings: “A Man’s a Man for A’ That” by Robert Burns

1. Butcher, Philip. “Robert Burns and the Democratic Spirit.” Phylon (1940-1956), vol. 10, no. 3, 1949, pp. 265–72. JSTOR, https://doi.org/10.2307/272397. Accessed 8 Jan. 2025.
2. David Robb, and Eckhard John. “‘A Man’s a Man for a’ That’ and ‘Trotz Alledem’: Robert Burns, Ferdinand Freiligrath, and Their Reception in the German Folksong Movement.” The Modern Language Review, vol. 106, no. 1, 2011, pp. 17–46. JSTOR, https://doi.org/10.5699/modelangrevi.106.1.0017. Accessed 8 Jan. 2025.
3. Whatley, Christopher A. “‘It Is Said That Burns Was a Radical’: Contest, Concession, and the Political Legacy of Robert Burns, ca. 1796—1859.” Journal of British Studies, vol. 50, no. 3, 2011, pp. 639–66. JSTOR, http://www.jstor.org/stable/23265422. Accessed 8 Jan. 2025.
4. Mooney, Martin. “Up to His Neck in the World.” Fortnight, no. 401, 2001, pp. 24–26. JSTOR, http://www.jstor.org/stable/25560475. Accessed 8 Jan. 2025.

Introduction: “The Song of the Shirt” by Thomas Hood

“The Song of the Shirt” by Thomas Hood: A Critical Analysis first appeared in 1843 in Punch magazine, a satirical publication of the time, and later became part of Hood’s collected works. The poem vividly captures the plight of the working poor, particularly women, during the industrial era. Hood’s poignant portrayal of a seamstress, toiling endlessly in poverty and despair, resonated with Victorian audiences, earning the poem its place as a classic textbook example of social critique. Through repetitive, rhythmic phrases like “Work—work—work” and “Stitch—stitch—stitch,” Hood mirrors the monotonous, dehumanizing labor of the working class. Its stark imagery—“It is not linen you’re wearing out, / But human creatures’ lives!”—highlights the exploitation inherent in industrial society. The poem’s enduring popularity as an educational piece lies in its timeless appeal to empathy and its illustrative use of literary devices, such as alliteration, irony, and symbolism, making it a compelling study in both social history and poetic craft.

Text: “The Song of the Shirt” by Thomas Hood

Annotations: “The Song of the Shirt” by Thomas Hood

Literary And Poetic Devices: “The Song of the Shirt” by Thomas Hood

Themes: “The Song of the Shirt” by Thomas Hood

1. Exploitation of Labor: In “The Song of the Shirt,” Thomas Hood delves into the relentless exploitation of working-class labor, particularly focusing on women in industrial societies. The seamstress in the poem is depicted as overworked and underpaid, her toil described as “Work—work—work, / Till the brain begins to swim.” The repetitive nature of her labor, captured through rhythmic phrases like “Stitch! stitch! stitch!” and “Seam, and gusset, and band,” mirrors the monotonous and dehumanizing nature of her work. Hood critiques how society reduces workers to mere tools for production, stripping them of dignity and individuality. This theme is reinforced by the metaphor, “It is not linen you’re wearing out, / But human creatures’ lives,” highlighting how the wealthy exploit the labor of the poor, draining them physically and emotionally.

2. Poverty and Despair: “The Song of the Shirt” vividly portrays the debilitating effects of poverty on the physical and emotional well-being of the working class. The seamstress is described as living in dire conditions: “In poverty, hunger, and dirt.” Her home is barren, with “a bed of straw,” “a crust of bread,” and “a wall so blank, my shadow I thank.” These images underscore the depth of her destitution. Poverty not only deprives her of basic needs but also of hope and happiness. She laments, “Oh, God! that bread should be so dear, / And flesh and blood so cheap!” expressing the stark disparity between the value of life and the cost of survival in a capitalist society. The poem paints poverty not just as a lack of material wealth but as an all-encompassing despair that consumes the soul.

3. Social Inequality and Hypocrisy: Hood critiques social inequalities and moral hypocrisy in “The Song of the Shirt,” particularly targeting the Christian ethos that tolerates such exploitation. The line “If this is Christian work!” directly challenges the disconnect between religious values of compassion and the harsh realities of industrial labor. The seamstress’s plea, “Would that its tone could reach the Rich!” reflects the gulf between the affluent and the working poor, highlighting the apathy of the wealthy. By juxtaposing her grueling labor with the opulence of her employers, Hood exposes the systemic inequalities that perpetuate her suffering. The irony of her situation, where her labor sustains others’ comforts while she lives in misery, emphasizes the moral failures of a society that prioritizes profit over humanity.

4. Loss of Individuality and Humanity: The seamstress’s identity is consumed by her work in “The Song of the Shirt,” reducing her to a mere instrument of production. She laments, “Till the heart is sick, and the brain benumbed, / As well as the weary hand,” showing how relentless labor strips her of physical vitality and mental clarity. Her repeated cry for “one short hour” of leisure signifies her yearning for individuality, freedom, and a connection to nature, which industrialization has taken from her. Hood contrasts her plight with imagery of nature, such as “the cowslip and primrose sweet” and “the brooding swallows,” symbolizing a lost world of peace and fulfillment. The line “A Shroud as well as a Shirt” encapsulates her dual labor—providing for others while simultaneously working herself to death, illustrating how systemic exploitation erodes humanity itself.

Literary Theories and “The Song of the Shirt” by Thomas Hood

Critical Questions about “The Song of the Shirt” by Thomas Hood

Literary Works Similar to “The Song of the Shirt” by Thomas Hood

1. “The Cry of the Children” by Elizabeth Barrett Browning
   Similar in its critique of industrial exploitation, this poem highlights the suffering of child laborers in Victorian England, paralleling Hood’s focus on the plight of working-class individuals.
2. “London” by William Blake
   Both poems explore themes of poverty, inequality, and the dehumanizing effects of industrialization, with Blake’s depiction of a bleak, oppressive city echoing Hood’s portrayal of relentless labor.
3. “The Chimney Sweeper” (Songs of Experience) by William Blake
   Like Hood’s poem, this work critiques societal hypocrisy and the exploitation of vulnerable workers, focusing on child chimney sweeps trapped in harsh conditions.
4. “A Man’s a Man for A’ That” by Robert Burns
   Burns, like Hood, advocates for social equality and critiques the disparity between the wealthy and the poor, celebrating the dignity of labor despite its hardships.

Representative Quotations of “The Song of the Shirt” by Thomas Hood

Suggested Readings: “The Song of the Shirt” by Thomas Hood

1. Eden, Helen Parry. “THOMAS HOOD.” Blackfriars, vol. 7, no. 78, 1926, pp. 554–67. JSTOR, http://www.jstor.org/stable/43810645. Accessed 7 Jan. 2025.
2. Edelstein, T. J. “They Sang ‘The Song of the Shirt’: The Visual Iconology of the Seamstress.” Victorian Studies, vol. 23, no. 2, 1980, pp. 183–210. JSTOR, http://www.jstor.org/stable/3827085. Accessed 7 Jan. 2025.
3. MACLURE, JENNIFER. “Rehearsing Social Justice: Temporal Ghettos and the Poetic Way Out in ‘Goblin Market’ and ‘The Song of the Shirt.’” Victorian Poetry, vol. 53, no. 2, 2015, pp. 151–69. JSTOR, http://www.jstor.org/stable/26160125. Accessed 7 Jan. 2025.
4. NAJARIAN, JAMES. “Imitating Keats: The Case of Thomas Hood.” Keats-Shelley Journal, vol. 67, 2018, pp. 87–95. JSTOR, https://www.jstor.org/stable/48598317. Accessed 7 Jan. 2025.
5. Cooper, Hyson. “A Voice, a Song, and a Cry: Ventriloquizing the Poor in Poems by Lady Wilde, Thomas Hood, and Elizabeth Barrett Browning.” Studies in Browning and His Circle, vol. 27, 2006, pp. 26–40. JSTOR, http://www.jstor.org/stable/45285403. Accessed 7 Jan. 2025.

Introduction: “The Prelude (Book 10: Residence in France)” by William Wordsworth

“The Prelude (Book 10: Residence in France)” by William Wordsworth first appeared posthumously in 1850 as part of Wordsworth’s autobiographical epic poem, The Prelude. This book specifically reflects on Wordsworth’s time in France during the French Revolution, capturing the intense emotions, hopes, and disillusionments of the era. Its vivid imagery and philosophical introspection explore themes of liberty, tyranny, and the moral complexities of revolution. Phrases such as “a high and fearless soul” and “the tender mercies of the dismal wind” encapsulate the emotional turbulence and ideological passions of the time. The poem remains popular as a textbook piece for its historical significance, lyrical mastery, and deep meditation on personal and societal transformation, making it a rich text for exploring Romanticism’s engagement with politics and individual experience.

Text: “The Prelude (Book 10: Residence in France)” by William Wordsworth

RESIDENCE IN FRANCE.—(Continued.)

It was a beautiful and silent day
That overspread the countenance of earth,
Then fading with unusual quietness,—
A day as beautiful as e’er was given
To soothe regret, though deepening what it soothed,
When by the gliding Loire I paused, and cast
Upon his rich domains, vineyard and tilth,
Green meadow-ground, and many-coloured woods,
Again, and yet again, a farewell look;
Then from the quiet of that scene passed on,
Bound to the fierce Metropolis. From his throne
The King had fallen, and that invading host—
Presumptuous cloud, on whose black front was written
The tender mercies of the dismal wind
That bore it—on the plains of Liberty
Had burst innocuous. Say in bolder words,
They—who had come elate as eastern hunters
Banded beneath the Great Mogul, when he
Erewhile went forth from Agra or Lahore,
Rajahs and Omrahs in his train, intent
To drive their prey enclosed within a ring
Wide as a province, but, the signal given,
Before the point of the life-threatening spear
Narrowing itself by moments—they, rash men,
Had seen the anticipated quarry turned
Into avengers, from whose wrath they fled
In terror. Disappointment and dismay
Remained for all whose fancies had run wild
With evil expectations; confidence
And perfect triumph for the better cause.

The State, as if to stamp the final seal
On her security, and to the world
Show what she was, a high and fearless soul,
Exulting in defiance, or heart-stung
By sharp resentment, or belike to taunt
With spiteful gratitude the baffled League,
That had stirred up her slackening faculties
To a new transition, when the King was crushed,
Spared not the empty throne, and in proud haste
Assumed the body and venerable name
Of a Republic. Lamentable crimes,
‘Tis true, had gone before this hour, dire work
Of massacre, in which the senseless sword
Was prayed to as a judge; but these were past,
Earth free from them for ever, as was thought,—
Ephemeral monsters, to be seen but once!
Things that could only show themselves and die.

Cheered with this hope, to Paris I returned,
And ranged, with ardour heretofore unfelt,
The spacious city, and in progress passed
The prison where the unhappy Monarch lay,
Associate with his children and his wife
In bondage; and the palace, lately stormed
With roar of cannon by a furious host.
I crossed the square (an empty area then!)
Of the Carrousel, where so late had lain
The dead, upon the dying heaped, and gazed
On this and other spots, as doth a man
Upon a volume whose contents he knows
Are memorable, but from him locked up,
Being written in a tongue he cannot read,
So that he questions the mute leaves with pain,
And half upbraids their silence. But that night
I felt most deeply in what world I was,
What ground I trod on, and what air I breathed.
High was my room and lonely, near the roof
Of a large mansion or hotel, a lodge
That would have pleased me in more quiet times;
Nor was it wholly without pleasure then.
With unextinguished taper I kept watch,
Reading at intervals; the fear gone by
Pressed on me almost like a fear to come.
I thought of those September massacres,
Divided from me by one little month,
Saw them and touched: the rest was conjured up
From tragic fictions or true history,
Remembrances and dim admonishments.
The horse is taught his manage, and no star
Of wildest course but treads back his own steps;
For the spent hurricane the air provides
As fierce a successor; the tide retreats
But to return out of its hiding-place
In the great deep; all things have second birth;
The earthquake is not satisfied at once;
And in this way I wrought upon myself,
Until I seemed to hear a voice that cried,
To the whole city, “Sleep no more.” The trance
Fled with the voice to which it had given birth;
But vainly comments of a calmer mind
Promised soft peace and sweet forgetfulness.
The place, all hushed and silent as it was,
Appeared unfit for the repose of night,
Defenceless as a wood where tigers roam.

With early morning towards the Palace-walk
Of Orleans eagerly I turned; as yet
The streets were still; not so those long Arcades;
There, ‘mid a peal of ill-matched sounds and cries,
That greeted me on entering, I could hear
Shrill voices from the hawkers in the throng,
Bawling, “Denunciation of the Crimes
Of Maximilian Robespierre;” the hand,
Prompt as the voice, held forth a printed speech,
The same that had been recently pronounced,
When Robespierre, not ignorant for what mark
Some words of indirect reproof had been
Intended, rose in hardihood, and dared
The man who had an ill surmise of him
To bring his charge in openness; whereat,
When a dead pause ensued, and no one stirred,
In silence of all present, from his seat
Louvet walked single through the avenue,
And took his station in the Tribune, saying,
“I, Robespierre, accuse thee!” Well is known
The inglorious issue of that charge, and how
He, who had launched the startling thunderbolt,
The one bold man, whose voice the attack had sounded,
Was left without a follower to discharge
His perilous duty, and retire lamenting
That Heaven’s best aid is wasted upon men
Who to themselves are false.
But these are things
Of which I speak, only as they were storm
Or sunshine to my individual mind,
No further. Let me then relate that now—
In some sort seeing with my proper eyes
That Liberty, and Life, and Death would soon
To the remotest corners of the land
Lie in the arbitrement of those who ruled
The capital City; what was struggled for,
And by what combatants victory must be won;
The indecision on their part whose aim
Seemed best, and the straightforward path of those
Who in attack or in defence were strong
Through their impiety—my inmost soul
Was agitated; yea, I could almost
Have prayed that throughout earth upon all men,
By patient exercise of reason made
Worthy of liberty, all spirits filled
With zeal expanding in Truth’s holy light,
The gift of tongues might fall, and power arrive
From the four quarters of the winds to do
For France, what without help she could not do,
A work of honour; think not that to this
I added, work of safety: from all doubt
Or trepidation for the end of things
Far was I, far as angels are from guilt.

Yet did I grieve, nor only grieved, but thought
Of opposition and of remedies:
An insignificant stranger and obscure,
And one, moreover, little graced with power
Of eloquence even in my native speech,
And all unfit for tumult or intrigue,
Yet would I at this time with willing heart
Have undertaken for a cause so great
Service however dangerous. I revolved,
How much the destiny of Man had still
Hung upon single persons; that there was,
Transcendent to all local patrimony,
One nature, as there is one sun in heaven;
That objects, even as they are great, thereby
Do come within the reach of humblest eyes;
That Man is only weak through his mistrust
And want of hope where evidence divine
Proclaims to him that hope should be most sure;
Nor did the inexperience of my youth
Preclude conviction, that a spirit strong
In hope, and trained to noble aspirations,
A spirit throughly faithful to itself,
Is for Society’s unreasoning herd
A domineering instinct, serves at once
For way and guide, a fluent receptacle
That gathers up each petty straggling rill
And vein of water, glad to be rolled on
In safe obedience; that a mind, whose rest
Is where it ought to be, in self-restraint,
In circumspection and simplicity,
Falls rarely in entire discomfiture
Below its aim, or meets with, from without,
A treachery that foils it or defeats;
And, lastly, if the means on human will,
Frail human will, dependent should betray
Him who too boldly trusted them, I felt
That ‘mid the loud distractions of the world
A sovereign voice subsists within the soul,
Arbiter undisturbed of right and wrong,
Of life and death, in majesty severe
Enjoining, as may best promote the aims
Of truth and justice, either sacrifice,
From whatsoever region of our cares
Or our infirm affections Nature pleads,
Earnest and blind, against the stern decree.

On the other side, I called to mind those truths
That are the common-places of the schools—
(A theme for boys, too hackneyed for their sires,)
Yet, with a revelation’s liveliness,
In all their comprehensive bearings known
And visible to philosophers of old,
Men who, to business of the world untrained,
Lived in the shade; and to Harmodius known
And his compeer Aristogiton, known
To Brutus—that tyrannic power is weak,
Hath neither gratitude, nor faith, nor love,
Nor the support of good or evil men
To trust in; that the godhead which is ours
Can never utterly be charmed or stilled;
That nothing hath a natural right to last
But equity and reason; that all else
Meets foes irreconcilable, and at best
Lives only by variety of disease.

Well might my wishes be intense, my thoughts
Strong and perturbed, not doubting at that time
But that the virtue of one paramount mind
Would have abashed those impious crests—have quelled
Outrage and bloody power, and, in despite
Of what the People long had been and were
Through ignorance and false teaching, sadder proof
Of immaturity, and in the teeth
Of desperate opposition from without—
Have cleared a passage for just government,
And left a solid birthright to the State,
Redeemed, according to example given
By ancient lawgivers.
In this frame of mind,
Dragged by a chain of harsh necessity,
So seemed it,—now I thankfully acknowledge,
Forced by the gracious providence of Heaven,—
To England I returned, else (though assured
That I both was and must be of small weight,
No better than a landsman on the deck
Of a ship struggling with a hideous storm)
Doubtless, I should have then made common cause
With some who perished; haply perished too,
A poor mistaken and bewildered offering,—
Should to the breast of Nature have gone back,
With all my resolutions, all my hopes,
A Poet only to myself, to men
Useless, and even, beloved Friend! a soul
To thee unknown!
Twice had the trees let fall
Their leaves, as often Winter had put on
His hoary crown, since I had seen the surge
Beat against Albion’s shore, since ear of mine
Had caught the accents of my native speech
Upon our native country’s sacred ground.
A patriot of the world, how could I glide
Into communion with her sylvan shades,
Erewhile my tuneful haunt? It pleased me more
To abide in the great City, where I found
The general air still busy with the stir
Of that first memorable onset made
By a strong levy of humanity
Upon the traffickers in Negro blood;
Effort which, though defeated, had recalled
To notice old forgotten principles,
And through the nation spread a novel heat
Of virtuous feeling. For myself, I own
That this particular strife had wanted power
To rivet my affections; nor did now
Its unsuccessful issue much excite
My sorrow; for I brought with me the faith
That, if France prospered, good men would not long
Pay fruitless worship to humanity,
And this most rotten branch of human shame,
Object, so seemed it, of superfluous pains,
Would fall together with its parent tree.
What, then, were my emotions, when in arms
Britain put forth her free-born strength in league,
Oh, pity and shame! with those confederate Powers!
Not in my single self alone I found,
But in the minds of all ingenuous youth,
Change and subversion from that hour. No shock
Given to my moral nature had I known
Down to that very moment; neither lapse
Nor turn of sentiment that might be named
A revolution, save at this one time;
All else was progress on the self-same path
On which, with a diversity of pace,
I had been travelling: this a stride at once
Into another region. As a light
And pliant harebell, swinging in the breeze
On some grey rock—its birth-place—so had I
Wantoned, fast rooted on the ancient tower
Of my beloved country, wishing not
A happier fortune than to wither there:
Now was I from that pleasant station torn
And tossed about in whirlwind. I rejoiced,
Yea, afterwards—truth most painful to record!—
Exulted, in the triumph of my soul,
When Englishmen by thousands were o’erthrown,
Left without glory on the field, or driven,
Brave hearts! to shameful flight. It was a grief,—
Grief call it not, ’twas anything but that,—
A conflict of sensations without name,
Of which he only, who may love the sight
Of a village steeple, as I do, can judge,
When, in the congregation bending all
To their great Father, prayers were offered up,
Or praises for our country’s victories;
And, ‘mid the simple worshippers, perchance
I only, like an uninvited guest
Whom no one owned, sate silent, shall I add,
Fed on the day of vengeance yet to come.

Oh! much have they to account for, who could tear,
By violence, at one decisive rent,
From the best youth in England their dear pride,
Their joy, in England; this, too, at a time
In which worst losses easily might wean
The best of names, when patriotic love
Did of itself in modesty give way,
Like the Precursor when the Deity
Is come Whose harbinger he was; a time
In which apostasy from ancient faith
Seemed but conversion to a higher creed;
Withal a season dangerous and wild,
A time when sage Experience would have snatched
Flowers out of any hedge-row to compose
A chaplet in contempt of his grey locks.

When the proud fleet that bears the red-cross flag
In that unworthy service was prepared
To mingle, I beheld the vessels lie,
A brood of gallant creatures, on the deep;
I saw them in their rest, a sojourner
Through a whole month of calm and glassy days
In that delightful island which protects
Their place of convocation—there I heard,
Each evening, pacing by the still sea-shore,
A monitory sound that never failed,—
The sunset cannon. While the orb went down
In the tranquillity of nature, came
That voice, ill requiem! seldom heard by me
Without a spirit overcast by dark
Imaginations, sense of woes to come,
Sorrow for human kind, and pain of heart.

In France, the men, who, for their desperate ends,
Had plucked up mercy by the roots, were glad
Of this new enemy. Tyrants, strong before
In wicked pleas, were strong as demons now;
And thus, on every side beset with foes,
The goaded land waxed mad; the crimes of few
Spread into madness of the many; blasts
From hell came sanctified like airs from heaven.
The sternness of the just, the faith of those
Who doubted not that Providence had times
Of vengeful retribution, theirs who throned
The human Understanding paramount
And made of that their God, the hopes of men
Who were content to barter short-lived pangs
For a paradise of ages, the blind rage
Of insolent tempers, the light vanity
Of intermeddlers, steady purposes
Of the suspicious, slips of the indiscreet,
And all the accidents of life were pressed
Into one service, busy with one work.
The Senate stood aghast, her prudence quenched,
Her wisdom stifled, and her justice scared,
Her frenzy only active to extol
Past outrages, and shape the way for new,
Which no one dared to oppose or mitigate.

Domestic carnage now filled the whole year
With feast-days; old men from the chimney-nook,
The maiden from the bosom of her love,
The mother from the cradle of her babe,
The warrior from the field—all perished, all—
Friends, enemies, of all parties, ages, ranks,
Head after head, and never heads enough
For those that bade them fall. They found their joy,
They made it proudly, eager as a child,
(If like desires of innocent little ones
May with such heinous appetites be compared),
Pleased in some open field to exercise
A toy that mimics with revolving wings
The motion of a wind-mill; though the air
Do of itself blow fresh, and make the vanes
Spin in his eyesight, that contents him not,
But, with the plaything at arm’s length, he sets
His front against the blast, and runs amain,
That it may whirl the faster.
Amid the depth
Of those enormities, even thinking minds
Forgot, at seasons, whence they had their being;
Forgot that such a sound was ever heard
As Liberty upon earth: yet all beneath
Her innocent authority was wrought,
Nor could have been, without her blessed name.
The illustrious wife of Roland, in the hour
Of her composure, felt that agony,
And gave it vent in her last words. O Friend!
It was a lamentable time for man,
Whether a hope had e’er been his or not;
A woful time for them whose hopes survived
The shock; most woful for those few who still
Were flattered, and had trust in human kind:
They had the deepest feeling of the grief.
Meanwhile the Invaders fared as they deserved:
The Herculean Commonwealth had put forth her arms,
And throttled with an infant godhead’s might
The snakes about her cradle; that was well,
And as it should be; yet no cure for them
Whose souls were sick with pain of what would be
Hereafter brought in charge against mankind.
Most melancholy at that time, O Friend!
Were my day-thoughts,—my nights were miserable;
Through months, through years, long after the last beat
Of those atrocities, the hour of sleep
To me came rarely charged with natural gifts,
Such ghastly visions had I of despair
And tyranny, and implements of death;
And innocent victims sinking under fear,
And momentary hope, and worn-out prayer,
Each in his separate cell, or penned in crowds
For sacrifice, and struggling with fond mirth
And levity in dungeons, where the dust
Was laid with tears. Then suddenly the scene
Changed, and the unbroken dream entangled me
In long orations, which I strove to plead
Before unjust tribunals,—with a voice
Labouring, a brain confounded, and a sense,
Death-like, of treacherous desertion, felt
In the last place of refuge—my own soul.

When I began in youth’s delightful prime
To yield myself to Nature, when that strong
And holy passion overcame me first,
Nor day nor night, evening or morn, was free
From its oppression. But, O Power Supreme!
Without Whose call this world would cease to breathe,
Who from the fountain of Thy grace dost fill
The veins that branch through every frame of life,
Making man what he is, creature divine,
In single or in social eminence,
Above the rest raised infinite ascents
When reason that enables him to be
Is not sequestered—what a change is here!
How different ritual for this after-worship,
What countenance to promote this second love!
The first was service paid to things which lie
Guarded within the bosom of Thy will.
Therefore to serve was high beatitude;
Tumult was therefore gladness, and the fear
Ennobling, venerable; sleep secure,
And waking thoughts more rich than happiest dreams.

But as the ancient Prophets, borne aloft
In vision, yet constrained by natural laws
With them to take a troubled human heart,
Wanted not consolations, nor a creed
Of reconcilement, then when they denounced,
On towns and cities, wallowing in the abyss
Of their offences, punishment to come;
Or saw, like other men, with bodily eyes,
Before them, in some desolated place,
The wrath consummate and the threat fulfilled;
So, with devout humility be it said,
So, did a portion of that spirit fall
On me uplifted from the vantage-ground
Of pity and sorrow to a state of being
That through the time’s exceeding fierceness saw
Glimpses of retribution, terrible,
And in the order of sublime behests:
But, even if that were not, amid the awe
Of unintelligible chastisement,
Not only acquiescences of faith
Survived, but daring sympathies with power,
Motions not treacherous or profane, else why
Within the folds of no ungentle breast
Their dread vibration to this hour prolonged?
Wild blasts of music thus could find their way
Into the midst of turbulent events;
So that worst tempests might be listened to.
Then was the truth received into my heart,
That, under heaviest sorrow earth can bring,
If from the affliction somewhere do not grow
Honour which could not else have been, a faith,
An elevation and a sanctity,
If new strength be not given nor old restored,
The blame is ours, not Nature’s. When a taunt
Was taken up by scoffers in their pride,
Saying, “Behold the harvest that we reap
From popular government and equality,”
I clearly saw that neither these nor aught
Of wild belief engrafted on their names
By false philosophy had caused the woe,
But a terrific reservoir of guilt
And ignorance filled up from age to age,
That could no longer hold its loathsome charge,
But burst and spread in deluge through the land.

And as the desert hath green spots, the sea
Small islands scattered amid stormy waves,
So that disastrous period did not want
Bright sprinklings of all human excellence,
To which the silver wands of saints in Heaven
Might point with rapturous joy. Yet not the less,
For those examples in no age surpassed
Of fortitude and energy and love,
And human nature faithful to herself
Under worst trials, was I driven to think
Of the glad times when first I traversed France
A youthful pilgrim; above all reviewed
That eventide, when under windows bright
With happy faces and with garlands hung,
And through a rainbow-arch that spanned the street,
Triumphal pomp for liberty confirmed,
I paced, a dear companion at my side,
The town of Arras, whence with promise high
Issued, on delegation to sustain
Humanity and right, that Robespierre,
He who thereafter, and in how short time!
Wielded the sceptre of the Atheist crew.
When the calamity spread far and wide—
And this same city, that did then appear
To outrun the rest in exultation, groaned
Under the vengeance of her cruel son,
As Lear reproached the winds—I could almost
Have quarrelled with that blameless spectacle
For lingering yet an image in my mind
To mock me under such a strange reverse.

O Friend! few happier moments have been mine
Than that which told the downfall of this Tribe
So dreaded, so abhorred. The day deserves
A separate record. Over the smooth sands
Of Leven’s ample estuary lay
My journey, and beneath a genial sun,
With distant prospect among gleams of sky
And clouds, and intermingling mountain tops,
In one inseparable glory clad,
Creatures of one ethereal substance met
In consistory, like a diadem
Or crown of burning seraphs as they sit
In the empyrean. Underneath that pomp
Celestial, lay unseen the pastoral vales
Among whose happy fields I had grown up
From childhood. On the fulgent spectacle,
That neither passed away nor changed, I gazed
Enrapt; but brightest things are wont to draw
Sad opposites out of the inner heart,
As even their pensive influence drew from mine.
How could it otherwise? for not in vain
That very morning had I turned aside
To seek the ground where, ‘mid a throng of graves,
An honoured teacher of my youth was laid,
And on the stone were graven by his desire
Lines from the churchyard elegy of Gray.
This faithful guide, speaking from his death-bed,
Added no farewell to his parting counsel,
But said to me, “My head will soon lie low;”
And when I saw the turf that covered him,
After the lapse of full eight years, those words,
With sound of voice and countenance of the Man,
Came back upon me, so that some few tears
Fell from me in my own despite. But now
I thought, still traversing that widespread plain,
With tender pleasure of the verses graven
Upon his tombstone, whispering to myself:
He loved the Poets, and, if now alive,
Would have loved me, as one not destitute
Of promise, nor belying the kind hope
That he had formed, when I, at his command,
Began to spin, with toil, my earliest songs.

As I advanced, all that I saw or felt
Was gentleness and peace. Upon a small
And rocky island near, a fragment stood
(Itself like a sea rock) the low remains
(With shells encrusted, dark with briny weeds)
Of a dilapidated structure, once
A Romish chapel, where the vested priest
Said matins at the hour that suited those
Who crossed the sands with ebb of morning tide.
Not far from that still ruin all the plain
Lay spotted with a variegated crowd
Of vehicles and travellers, horse and foot,
Wading beneath the conduct of their guide
In loose procession through the shallow stream
Of inland waters; the great sea meanwhile
Heaved at safe distance, far retired. I paused,
Longing for skill to paint a scene so bright
And cheerful, but the foremost of the band
As he approached, no salutation given
In the familiar language of the day,
Cried, “Robespierre is dead!”—nor was a doubt,
After strict question, left within my mind
That he and his supporters all were fallen.

Great was my transport, deep my gratitude
To everlasting Justice, by this fiat
Made manifest. “Come now, ye golden times,”
Said I forth-pouring on those open sands
A hymn of triumph: “as the morning comes
From out the bosom of the night, come ye:
Thus far our trust is verified; behold!
They who with clumsy desperation brought
A river of Blood, and preached that nothing else
Could cleanse the Augean stable, by the might
Of their own helper have been swept away;
Their madness stands declared and visible;
Elsewhere will safety now be sought, and earth
March firmly towards righteousness and peace.”—
Then schemes I framed more calmly, when and how
The madding factions might be tranquillised,
And how through hardships manifold and long
The glorious renovation would proceed.
Thus interrupted by uneasy bursts
Of exultation, I pursued my way
Along that very shore which I had skimmed
In former days, when—spurring from the Vale
Of Nightshade, and St. Mary’s mouldering fane,
And the stone abbot, after circuit made
In wantonness of heart, a joyous band
Of school-boys hastening to their distant home
Along the margin of the moonlight sea—
We beat with thundering hoofs the level sand.

Annotations: “The Prelude (Book 10: Residence in France)” by William Wordsworth

Literary And Poetic Devices: “The Prelude (Book 10: Residence in France)” by William Wordsworth

Themes: “The Prelude (Book 10: Residence in France)” by William Wordsworth

1. Revolution and Disillusionment: In “The Prelude (Book 10: Residence in France),” Wordsworth delves deeply into the French Revolution, initially portraying it as a beacon of hope and change. The early parts of the poem reflect his optimism as he describes the “high and fearless soul” of the Republic and his belief in the transformative power of liberty. However, this idealism soon gives way to disillusionment as he witnesses the Reign of Terror and its accompanying atrocities, which he likens to “domestic carnage” and “heinous appetites.” The September Massacres and the execution of King Louis XVI shatter his faith in the revolutionaries, whom he accuses of succumbing to “madness of the many.” Wordsworth’s reflections demonstrate his grappling with the failure of revolutionary ideals to sustain the moral and philosophical principles they sought to establish, illustrating the broader theme of human fallibility and the complexities of political change.

2. Nature as a Moral and Emotional Refuge: Throughout “The Prelude (Book 10: Residence in France),” Wordsworth contrasts the chaos of human society with the serenity and continuity of nature. The poem begins with a vivid description of a “beautiful and silent day” by the Loire River, highlighting nature’s capacity to soothe and provide perspective. As he transitions to Paris and its upheavals, Wordsworth repeatedly turns to natural imagery to articulate his internal struggles, such as the metaphor of the tide retreating “but to return out of its hiding-place.” This cyclical view of nature serves as a reminder of renewal and balance, which starkly contrasts with the destructive forces of human ambition. Even amid his disillusionment, the poet finds solace in nature, as exemplified by his reflections on his return to England, where he describes the pastoral landscapes as “gentleness and peace.” Nature thus emerges as both a moral touchstone and a source of emotional resilience.

3. The Individual vs. Collective Responsibility: Wordsworth explores the tension between individual agency and collective action within the revolutionary context in “The Prelude (Book 10: Residence in France).” As an observer, he feels “an insignificant stranger and obscure,” powerless to influence the monumental events unfolding around him. However, he also emphasizes the role of single individuals in shaping history, reflecting that “the destiny of Man had still hung upon single persons.” This dual perspective is further illustrated in his commentary on the trial of Robespierre, where he contrasts the boldness of Louvet’s accusation with the collective silence of those who failed to support him. Wordsworth’s reflections suggest a critique of both the mob mentality that fueled the Revolution and the failure of individuals to stand by their principles. The poet ultimately highlights the need for moral conviction and self-restraint, emphasizing the potential for personal integrity to guide societal change.

4. The Loss and Rebirth of Ideals: Another central theme in “The Prelude (Book 10: Residence in France)” is the cyclical nature of human ideals, symbolized by the poet’s shifting emotions towards the Revolution. Initially, he exults in the fall of the monarchy, describing it as a moment of “perfect triumph for the better cause.” However, the violence and corruption that follow mark a “lamentable time for man,” causing Wordsworth to question the sustainability of revolutionary ideals. Despite his despair, the poem also reflects a belief in the eventual rebirth of moral and philosophical principles. The metaphor of the tide retreating to return speaks to the inevitability of renewal, even in the face of profound setbacks. Wordsworth’s ultimate return to England and his reflection on Britain’s abolitionist movement highlight his hope for humanity’s capacity to evolve and embrace enduring values like liberty and justice, even after periods of turmoil.

Literary Theories and “The Prelude (Book 10: Residence in France)” by William Wordsworth

Critical Questions about “The Prelude (Book 10: Residence in France)” by William Wordsworth

Literary Works Similar to “The Prelude (Book 10: Residence in France)” by William Wordsworth

1. “Ode to the West Wind” by Percy Bysshe Shelley
   Similarity: Both poems reflect on societal and personal transformation, using vivid natural imagery as a metaphor for political and emotional upheaval.
2. “Childe Harold’s Pilgrimage” (Canto III) by Lord Byron
   Similarity: Like Wordsworth, Byron reflects on revolutionary ideals and human struggles, intertwining personal experience with broader historical events.
3. “Song of Myself” by Walt Whitman
   Similarity: Both poems explore the individual’s place within a larger societal and natural framework, emphasizing introspection and the universality of human experience.
4. “The Mask of Anarchy” by Percy Bysshe Shelley
   Similarity: Both works engage with political themes, condemning violence and tyranny while advocating for justice and moral strength.
5. “Lines Composed a Few Miles Above Tintern Abbey” by William Wordsworth
   Similarity: This poem, also by Wordsworth, shares a meditative tone and a focus on the restorative power of nature, reflecting on the tension between personal memory and historical context.

Representative Quotations of “The Prelude (Book 10: Residence in France)” by William Wordsworth

Suggested Readings: “The Prelude (Book 10: Residence in France)” by William Wordsworth

1. Burton, Mary E. “Wordsworth’s Nature Philosophy as Revealed by His Revision of The Prelude.” College English, vol. 1, no. 4, 1940, pp. 300–09. JSTOR, https://doi.org/10.2307/370653. Accessed 7 Jan. 2025.
2. Gravil, Richard. “‘Some Other Being’: Wordsworth in ‘The Prelude.’” The Yearbook of English Studies, vol. 19, 1989, pp. 127–43. JSTOR, https://doi.org/10.2307/3508046. Accessed 7 Jan. 2025.
3. Rader, Melvin. “The Transcendentalism of William Wordsworth.” Modern Philology, vol. 26, no. 2, 1928, pp. 169–90. JSTOR, http://www.jstor.org/stable/433875. Accessed 7 Jan. 2025.
4. Owen, W. J. B. “Understanding ‘The Prelude.’” The Wordsworth Circle, vol. 22, no. 2, 1991, pp. 100–09. JSTOR, http://www.jstor.org/stable/24044585. Accessed 7 Jan. 2025.
5. KOBAYASHI, EMILY V. EPSTEIN. “Feeling Intellect in ‘Aurora Leigh’ and ‘The Prelude.’” Studies in English Literature, 1500-1900, vol. 51, no. 4, 2011, pp. 823–48. JSTOR, http://www.jstor.org/stable/41349039. Accessed 7 Jan. 2025.