“She Walks in Beauty” by Lord Byron, first appeared in 1815 in a collection titled Hebrew Melodies, is a classic example of Romantic poetry, celebrating the idealization of beauty and its connection to inner goodness.
Introduction: “She Walks in Beauty” by Lord Byron
“She Walks in Beauty” by Lord Byron, first appeared in 1815 in a collection titled Hebrew Melodies, is a classic example of Romantic poetry, celebrating the idealization of beauty and its connection to inner goodness. It stands out for its lyrical language, rhythmic flow, and vivid imagery, capturing the essence of a woman whose beauty is both physical and spiritual. The poem’s harmonious structure and carefully chosen words create a sense of awe and admiration, while its themes of light, darkness, and inner radiance continue to resonate with readers today.
A rhetorical shift or dramatic change in thought and/or emotion.
Marks a transition from describing the woman’s external beauty to focusing on her inner qualities.
Themes: “She Walks in Beauty” by Lord Byron
The Harmony of Contrasts: Byron’s poem celebrates the harmonious blending of opposing elements in the woman’s beauty. He juxtaposes “dark and bright,” “shade” and “ray,” to highlight the perfect balance that defines her allure. The woman’s beauty is not simply about her physical features but the seamless fusion of these contrasting elements, suggesting that true beauty lies in the harmonious coexistence of opposites. This harmony extends beyond the physical, reflecting a balance between inner and outer beauty, between thought and feeling, and between the earthly and the divine.
The Idealization of Beauty: “She Walks in Beauty” is an ode to idealized beauty, portraying the woman as a vision of perfection. Her “nameless grace,” “serenely sweet” thoughts, and “innocent” heart elevate her beyond mere mortal beauty. Byron employs vivid imagery and hyperbolic language, such as “tender light” and “days in goodness spent,” to create an aura of ethereal beauty that is almost otherworldly. The poem reflects the Romantic fascination with idealized beauty, capturing the sublime and unattainable nature of perfection.
The Connection Between Inner and Outer Beauty: Byron suggests that true beauty is not solely skin deep but emanates from within. The poem emphasizes the connection between the woman’s physical appearance and her inner qualities. Her “smiles that win” and “tints that glow” are not just superficial attributes but reflections of a “mind at peace with all below” and a “heart whose love is innocent.” This connection implies that genuine beauty is a manifestation of inner goodness, virtue, and a peaceful soul.
The Transcendent Power of Beauty: The poem suggests that beauty has the power to elevate the human spirit and connect us to something larger than ourselves. The woman’s beauty is described as “tender light / Which heaven to gaudy day denies,” suggesting a divine quality that surpasses the ordinary. Her beauty inspires awe and reverence, as if she is a celestial being gracing the earth with her presence. This theme reflects the Romantic belief in the transformative power of beauty, capable of inspiring wonder, joy, and a sense of connection to the sublime.
Literary Theories and “She Walks in Beauty” by Lord Byron
Reference from the poem: “She walks in beauty, like the night”
Critique: New Criticism emphasizes close reading of the text itself, focusing on formal elements such as structure, language, and imagery. Byron’s use of visual imagery in comparing the woman’s beauty to the night sky (“like the night / Of cloudless climes and starry skies”) underscores the poem’s aesthetic appeal and evokes a sense of serene beauty. The precise choice of words like “cloudless,” “starry,” and “beauty” highlights the harmonious balance and visual allure of the woman’s appearance. New Criticism would analyze how Byron’s meticulous use of imagery contributes to the poem’s overall impact and theme of aesthetic perfection.
Reference from the poem: “A mind at peace with all below, / A heart whose love is innocent!”
Critique: Psychoanalytic Criticism explores unconscious desires, motivations, and conflicts reflected in literature. Byron’s depiction of the woman as having “a mind at peace” and “a heart whose love is innocent” suggests idealized virtues and inner tranquility. Psychoanalytic analysis would delve into how these qualities symbolize the speaker’s desires for purity and emotional fulfillment. The poem’s emphasis on the woman’s serenity and innocence may reflect the speaker’s idealized projection or longing for emotional harmony and moral integrity. This perspective would examine how Byron’s portrayal of the woman’s character serves to fulfill the speaker’s psychological needs and desires.
Reference from the poem: “And all that’s best of dark and bright / Meet in her aspect and her eyes;”
Critique: Feminist Criticism examines literature through the lens of gender roles, power dynamics, and representations of women. Byron’s description of the woman’s beauty as a blend of “dark and bright” qualities highlights her complexity and allure. Feminist analysis would explore how the poem portrays feminine beauty and identity, considering whether the woman is empowered or objectified through the speaker’s gaze. The poem’s focus on the woman’s external beauty and inner virtues could be critiqued for reinforcing traditional ideals of femininity that prioritize physical appearance and moral purity. Feminist theory would question how the poem constructs gender norms and whether it challenges or perpetuates stereotypes about women’s roles and attributes.
Critical Questions about “She Walks in Beauty” by Lord Byron
How does Byron use contrasting imagery to enhance the theme of beauty in the poem?
Byron’s poem “She Walks in Beauty” employs contrasting imagery to accentuate the theme of beauty. The juxtaposition of “like the night / Of cloudless climes and starry skies” creates a vivid picture of the woman’s beauty as both serene and radiant (She Walks in Beauty). This contrast between darkness and light highlights her unique allure, suggesting that her beauty transcends ordinary descriptions. By merging elements of “dark and bright” in her “aspect and her eyes,” Byron emphasizes that her attractiveness lies in the harmonious balance of these opposites (She Walks in Beauty). This use of contrasting imagery not only enhances the visual appeal of the poem but also deepens the reader’s appreciation of the woman’s complex and multifaceted beauty.
In what ways does Byron idealize the woman’s inner qualities alongside her physical beauty?
In “She Walks in Beauty,” Byron idealizes the woman’s inner qualities as much as her physical beauty, suggesting a profound connection between outward appearance and inner virtue. He describes her “thoughts serenely sweet” and a face where such thoughts are “softly lightens o’er” (She Walks in Beauty). This portrayal of her inner serenity and sweetness as visibly manifest in her appearance elevates her beauty to a nearly divine status. Byron further emphasizes her moral purity by stating she has “a mind at peace with all below, / A heart whose love is innocent!” (She Walks in Beauty). This idealization of her internal qualities alongside her external beauty reinforces the Romantic ideal of harmony between inner virtue and outer appearance.
How does the poem reflect Romantic ideals about nature and beauty?
“She Walks in Beauty” reflects Romantic ideals by intertwining nature and beauty in its depiction of the woman. Byron’s comparison of her to a “night / Of cloudless climes and starry skies” aligns her beauty with natural elements, emphasizing the Romantic belief in the sublime qualities of nature (She Walks in Beauty). The tender light in her “aspect and her eyes,” which is mellowed and more delicate than the “gaudy day,” suggests that her beauty possesses a natural, unadorned purity that surpasses artificiality (She Walks in Beauty). This alignment of her beauty with the natural world underscores the Romantic ideal that true beauty is found in nature’s simplicity and purity, reflecting a deeper, spiritual essence.
What role does the speaker’s perspective play in shaping the portrayal of the woman in the poem?
The speaker’s perspective in “She Walks in Beauty” is crucial in shaping the portrayal of the woman, as it filters her beauty through his idealizing and admiring gaze. His observations begin with the striking simile, “She walks in beauty, like the night,” immediately setting a tone of reverent admiration (She Walks in Beauty). The speaker meticulously notes how “all that’s best of dark and bright / Meet in her aspect and her eyes,” suggesting that his perception is finely attuned to the nuances of her appearance (She Walks in Beauty). This perspective imbues the woman with an almost otherworldly grace and purity, as he attributes to her a “mind at peace” and “a heart whose love is innocent” (She Walks in Beauty). The speaker’s idealized view not only elevates her beauty but also shapes the reader’s understanding of her as a paragon of both physical and moral excellence.
Literary Works Similar to “She Walks in Beauty” by Lord Byron
“Sonnet 18” by William Shakespeare: Celebrates the eternal beauty of the beloved, comparing it to a summer’s day and emphasizing its enduring nature.
“To Helen” by Edgar Allan Poe: Praises the timeless beauty of Helen, using classical references to convey admiration and reverence.
“La Belle Dame sans Merci” by John Keats: Describes an enchanting and mysterious woman whose beauty captivates and ensnares the speaker.
“Bright Star” by John Keats: Expresses the speaker’s desire for the constancy and eternal beauty of a bright star, symbolizing a loved one.
“When You Are Old” by W.B. Yeats: Reflects on the enduring beauty and deep love for the speaker’s beloved, even as time passes and physical beauty fades.
Suggested Readings: “She Walks in Beauty” by Lord Byron
Bloom, Harold, editor. Lord Byron. Chelsea House Publishers, 1986.
“Directive” by Robert Frost, first appeared in 1947 in his collection Steeple Bush, is characteristic of Frost’s later work, showcasing a darker, more meditative tone than his earlier, more optimistic poems.
Introduction: “Directive” by Robert Frost
“Directive” by Robert Frost, first appeared in 1947 in his collection Steeple Bush, is characteristic of Frost’s later work, showcasing a darker, more meditative tone than his earlier, more optimistic poems. “Directive” is a journey poem, guiding the reader through a physical and spiritual landscape, urging them to seek solace and meaning in a world that can often feel chaotic and disillusioning. The poem employs Frost’s signature plain-spoken language and deceptively simple imagery, while delving into deeper themes of loss, memory, and the search for spiritual fulfillment.
Text: “Directive” by Robert Frost
Back out of all this now too much for us, Back in a time made simple by the loss Of detail, burned, dissolved, and broken off Like graveyard marble sculpture in the weather, There is a house that is no more a house Upon a farm that is no more a farm And in a town that is no more a town. The road there, if you’ll let a guide direct you Who only has at heart your getting lost, May seem as if it should have been a quarry— Great monolithic knees the former town Long since gave up pretense of keeping covered. And there’s a story in a book about it: Besides the wear of iron wagon wheels The ledges show lines ruled southeast northwest, The chisel work of an enormous Glacier That braced his feet against the Arctic Pole. You must not mind a certain coolness from him Still said to haunt this side of Panther Mountain. Nor need you mind the serial ordeal Of being watched from forty cellar holes As if by eye pairs out of forty firkins. As for the woods’ excitement over you That sends light rustle rushes to their leaves, Charge that to upstart inexperience. Where were they all not twenty years ago? They think too much of having shaded out A few old pecker-fretted apple trees. Make yourself up a cheering song of how Someone’s road home from work this once was, Who may be just ahead of you on foot Or creaking with a buggy load of grain. The height of the adventure is the height Of country where two village cultures faded Into each other. Both of them are lost. And if you’re lost enough to find yourself By now, pull in your ladder road behind you And put a sign up CLOSED to all but me. Then make yourself at home. The only field Now left’s no bigger than a harness gall. First there’s the children’s house of make believe, Some shattered dishes underneath a pine, The playthings in the playhouse of the children. Weep for what little things could make them glad. Then for the house that is no more a house, But only a belilaced cellar hole, Now slowly closing like a dent in dough. This was no playhouse but a house in earnest. Your destination and your destiny’s A brook that was the water of the house, Cold as a spring as yet so near its source, Too lofty and original to rage. (We know the valley streams that when aroused Will leave their tatters hung on barb and thorn.) I have kept hidden in the instep arch Of an old cedar at the waterside A broken drinking goblet like the Grail Under a spell so the wrong ones can’t find it, So can’t get saved, as Saint Mark says they mustn’t. (I stole the goblet from the children’s playhouse.) Here are your waters and your watering place. Drink and be whole again beyond confusion.
A rhetorical shift or dramatic change in thought and/or emotion.
Marks a transition from the speaker’s focus on the past to a call for resilience and hope.
Themes: “Directive” by Robert Frost
The Quest for Spiritual Fulfillment: “Directive” presents a journey towards spiritual renewal, guiding the reader through a physical landscape that mirrors an inner quest for meaning. Frost invites us to “back out of all this now too much for us,” urging a retreat from the complexities of modern life. The dilapidated house, the abandoned farm, and the forgotten town symbolize the shedding of material attachments in favor of a simpler, more authentic existence. The “broken drinking goblet like the Grail” represents a spiritual treasure to be found in the most unexpected places, promising wholeness “beyond confusion.”
The Power of Memory and the Past: Frost explores the significance of memory and the past in shaping our present and future. The poem’s journey is not just physical but also temporal, leading the reader back through time to a place “made simple by the loss / Of detail.” The ruins of the town and the remnants of the children’s playhouse evoke a sense of nostalgia and longing for a simpler past. However, Frost doesn’t romanticize the past; he acknowledges its hardships and challenges, represented by the “coolness” of the Glacier and the watchful “eye pairs out of forty firkins.” The past serves as a guide, a source of wisdom, and a reminder of our connection to those who came before.
The Relationship Between Humanity and Nature: Frost masterfully weaves together human experience and the natural world, blurring the boundaries between the two. The landscape is not merely a backdrop but an active participant in the poem’s journey. The “monolithic knees” of the former town blend with the natural rock formations, suggesting a harmony between human creations and the environment. The brook, “too lofty and original to rage,” offers a source of purity and rejuvenation. Nature acts as a teacher, a healer, and a source of solace for those who are willing to listen and learn.
The Importance of Solitude and Self-Reliance: “Directive” advocates for a solitary retreat from society, a journey of self-discovery and self-reliance. The speaker encourages the reader to “pull in your ladder road behind you / And put a sign up CLOSED to all but me.” This isolation is not a rejection of others but a necessary step towards finding one’s true self. The “children’s house of make believe” and the “playthings in the playhouse” symbolize the illusions and distractions of society that we must shed to achieve genuine self-understanding. Only in solitude, surrounded by the simple beauty of nature, can we truly “drink and be whole again beyond confusion.”
Reference from the poem: “Back out of all this now too much for us,”
Commentary: New Criticism focuses on close reading of the text, emphasizing intrinsic literary elements such as imagery, structure, and language. Frost’s poem invites close examination of its imagery and language, such as the evocative descriptions of lost places (“graveyard marble sculpture,” “house that is no more a house”), which highlight themes of loss and nostalgia. The structured progression from past to present also underscores the poem’s introspective tone and thematic depth.
Reference from the poem: “The chisel work of an enormous Glacier / That braced his feet against the Arctic Pole.”
Commentary: Ecocriticism explores literature through the lens of environmental issues and relationships between humans and nature. Frost’s imagery of geological formations shaped by glaciers not only reflects on the physical landscape but also metaphorically suggests the passage of time and the impact of natural forces on human history. The poem’s engagement with nature and its transformations resonates with ecocritical perspectives on human interaction with the environment.
Reference from the poem: “Then make yourself up a cheering song of how / Someone’s road home from work this once was,”
Commentary: Psychoanalytic criticism examines literature through psychological concepts, exploring unconscious desires, motivations, and conflicts. Frost’s poem delves into themes of memory, nostalgia, and the passage of time, which can be analyzed through psychoanalytic lenses. The speaker’s directive to create a comforting narrative about a lost past may reflect a longing for stability and meaning amid change and loss, tapping into universal psychological themes of identity and nostalgia.
Critical Questions about “Directive” by Robert Frost
How does Frost use imagery to convey themes of loss and nostalgia?
In “Directive,” Robert Frost employs poignant imagery to evoke profound themes of loss and nostalgia. The poem vividly describes places transformed by time, such as “a house that is no more a house / Upon a farm that is no more a farm,” which symbolize the passage of time and the erosion of past realities (Directive). Frost’s imagery, such as “graveyard marble sculpture” and “belilaced cellar hole,” paints a picture of decay and impermanence, reinforcing the speaker’s reflective tone. These images not only depict physical changes in landscapes but also evoke a sense of longing for a simpler, bygone era. Through his masterful use of imagery, Frost invites readers to contemplate the inevitable changes brought by time and the emotional resonance of lost places.
How does Frost explore the relationship between memory and identity in “Directive”?
In “Directive,” Frost intricately explores the interplay between memory and identity, weaving them into the fabric of the poem’s narrative. The poem reflects on memories as integral to shaping personal and communal identities. For instance, Frost describes how “two village cultures faded / Into each other,” suggesting a blending of histories and identities (Directive). This blending highlights how memories of the past contribute to collective identity and cultural continuity. The speaker’s directive to reconstruct a comforting narrative (“Make yourself up a cheering song”) underscores the role of memory in defining personal and cultural narratives. Frost’s exploration of memory as a construct that influences identity resonates deeply, inviting readers to reflect on their own connections to history and memory.
What is the significance of the poem’s structural progression from description to directive?
The structural progression of “Directive” from descriptive passages to direct instructions plays a crucial role in shaping the poem’s narrative and thematic depth. Frost begins with evocative descriptions of lost places and histories, setting a nostalgic tone with lines like “Back out of all this now too much for us” (Directive). These descriptions create a sense of longing and introspection as the speaker reminisces about a simpler past. As the poem unfolds, the speaker shifts to direct the reader towards introspection and engagement with the past (“You must not mind…”), mirroring the speaker’s guiding role in the narrative (Directive). This progression invites readers to journey alongside the speaker, contemplating themes of memory, loss, and the passage of time. Frost’s strategic structural choices enhance the poem’s intimacy and emotional resonance, guiding readers through a reflective exploration of history and identity.
How does Frost use language and tone to create a sense of intimacy and guidance in “Directive
“? Robert Frost employs language and tone masterfully in “Directive” to foster intimacy and provide gentle guidance to the reader. The poem’s language is intimate and conversational, inviting readers to participate in the speaker’s nostalgic journey through phrases like “make yourself at home” and directives to imagine past lives (“Someone’s road home from work this once was”) (Directive). Frost’s tone is contemplative and reassuring, encouraging readers to reflect on their own connections to history and memory alongside the speaker. The gentle, instructive tone creates a sense of shared experience and personal reflection, drawing readers into the speaker’s nostalgic exploration of the past. Through his adept use of language and tone, Frost establishes a profound connection with readers, guiding them through themes of memory, belonging, and the passage of time in “Directive.”
Literary Works Similar to “Directive” by Robert Frost
“The Road Not Taken” by Robert Frost: Another of Frost’s iconic poems, this one explores the theme of choices and their consequences, inviting readers to reflect on the paths they choose in life.
“Stopping by Woods on a Snowy Evening” by Robert Frost: This poem delves into themes of solitude, temptation, and the allure of the unknown, as a traveler pauses in a snowy woods, contemplating the mysteries of life and death.
“The Waste Land” by T.S. Eliot: A modernist masterpiece, this poem explores themes of disillusionment, spiritual emptiness, and the search for meaning in a fragmented world, employing a variety of allusions and fragmented narratives.
“Song of Myself” by Walt Whitman: This epic poem celebrates the individual, the natural world, and the interconnectedness of all things, offering a vision of spiritual transcendence and democratic ideals.
“The Love Song of J. Alfred Prufrock” by T.S. Eliot: This poem delves into the anxieties and insecurities of a modern man, grappling with feelings of isolation, inadequacy, and the fear of rejection.
The poem begins with a directive to retreat from overwhelming complexity and return to a simpler time.
New Criticism (Formalism): Emphasizes close reading of the text’s intrinsic elements like structure and language to interpret the poem’s introspective tone and thematic depth.
“Then make yourself up a cheering song of how / Someone’s road home from work this once was,”
The speaker encourages the reader to construct a comforting narrative about a lost past.
Psychoanalytic Criticism: Explores unconscious desires and motivations reflected in the speaker’s directive to reimagine a nostalgic narrative, revealing psychological themes of identity and nostalgia.
“The height of the adventure is the height / Of country where two village cultures faded / Into each other.”
Describes a place where two cultures merged and eventually disappeared.
Ecocriticism: Analyzes the poem’s engagement with natural environments and landscapes, reflecting on human interaction with and impact on the environment.
“Here are your waters and your watering place. / Drink and be whole again beyond confusion.”
Concludes with an invitation to drink from a stream and find clarity.
Reader-Response Theory: Focuses on the reader’s interpretation and emotional response to the speaker’s invitation, emphasizing the poem’s role in shaping personal meaning and experience.
“I have kept hidden in the instep arch / Of an old cedar at the waterside / A broken drinking goblet like the Grail”
Reveals a hidden treasure and invokes mythical imagery.
Mythological Criticism: Examines the poem’s use of mythical allusions like the Holy Grail, exploring how these references enrich the poem’s themes of quest and discovery.
“Smile, Smile, Smile” by Wilfred Owen first appeared in the posthumously published collection Poems in 1920.
Introduction: “Smile, Smile, Smile” by Wilfred Owen
“Smile, Smile, Smile” by Wilfred Owen first appeared in the posthumously published collection Poems in 1920. The poem, a bitter critique of war propaganda, highlights the grim reality faced by soldiers on the front lines, contrasting it with the cheerful and encouraging messages propagated back home. Owen’s stark imagery and use of repetition emphasize the emotional disconnect between the soldiers’ experiences and the public’s perception, contributing to the poem’s haunting and ironic tone. This stark juxtaposition of battlefield horror and forced optimism showcases Owen’s mastery of language and his unwavering commitment to expose the truth of war.
Text: “Smile, Smile, Smile” by Wilfred Owen
Head to limp head, the sunk-eyed wounded scanned
Yesterday’s Mail; the casualties (typed small)
And (large) Vast Booty from our Latest Haul.
Also, they read of Cheap Homes, not yet planned;
“For,” said the paper, “when this war is done
The men’s first instinct will be making homes.
Meanwhile their foremost need is aerodromes,
It being certain war has just begun.
Peace would do wrong to our undying dead,—
The sons we offered might regret they died
If we got nothing lasting in their stead.
We must be solidly indemnified.
Though all be worthy Victory which all bought.
We rulers sitting in this ancient spot
Would wrong our very selves if we forgot
The greatest glory will be theirs who fought,
Who kept this nation in integrity.”
Nation?—The half-limbed readers did not chafe
But smiled at one another curiously
Like secret men who know their secret safe.
(This is the thing they know and never speak,
That England one by one had fled to France
Not many elsewhere now save under France).
Pictures of these broad smiles appear each week,
And people in whose voice real feeling rings
Say: How they smile! They’re happy now, poor things.
Annotations of “Smile, Smile, Smile” by Wilfred Owen
Suggests the soldiers’ shared understanding of the war’s true nature.
Themes in “Smile, Smile, Smile” by Wilfred Owen
The Disillusionment of War: Owen vividly captures the soldiers’ disillusionment with the war through their reading of the newspaper. The “sunk-eyed wounded” scanning the “Yesterday’s Mail” filled with propaganda about “Vast Booty” and “Cheap Homes” reveals the stark contrast between the reality of their suffering and the false promises made by those in power. The soldiers’ smiles, described as “curious,” suggest a shared understanding of the lies they’ve been fed.
The Manipulation of Propaganda: The poem is a scathing critique of war propaganda, exposing how it manipulates public opinion and conceals the true horrors of war. The lines about “Cheap Homes, not yet planned” and “aerodromes” being the foremost need highlight the government’s prioritization of war efforts over the well-being of its soldiers. The repetition of “Smile, Smile, Smile” serves as a chilling reminder of the insincerity behind the forced optimism propagated by those in power.
The Loss of Individuality and Agency: The poem suggests that war strips soldiers of their individuality and agency, turning them into mere numbers on a casualty list. The phrase “half-limbed readers” emphasizes their dehumanization and physical sacrifices. The fact that the soldiers “did not chafe” but instead “smiled at one another curiously” implies a sense of resignation and acceptance of their fate.
The Futility and Absurdity of War: Owen’s poem ultimately questions the very purpose and meaning of war. The lines “Peace would do wrong to our undying dead” and “We must be solidly indemnified” reveal the warped logic and misguided priorities of those in power. The final stanza’s reference to “The greatest glory” belonging to those who fought highlights the irony and absurdity of celebrating a conflict that causes so much suffering and loss. The poem leaves the reader with a profound sense of the futility of war and the tragic consequences it inflicts on both individuals and nations.
Literary Theories and “Smile, Smile, Smile” by Wilfred Owen
Marxist Literary Theory: From a Marxist perspective, Owen’s poem critiques the societal structures and the exploitation of working-class soldiers during wartime. The references to Cheap Homes, not yet planned and Vast Booty from our Latest Haul underscore the disparity between promises of future rewards and the immediate needs of soldiers. Owen highlights how the ruling class, symbolized by rulers sitting in this ancient spot, manipulates patriotic sentiments to justify war and pacify dissent among soldiers who have sacrificed so much. This theory emphasizes the economic and class dynamics embedded in Owen’s portrayal of war’s impact on individuals and society.
Feminist Literary Theory: Applying feminist theory to “Smile, Smile, Smile” reveals underlying gender dynamics and the absence of women’s voices in the poem. The focus on male soldiers (the men’s first instinct) and England one by one had fled to France suggests a narrative dominated by male experiences and sacrifices. The poem’s portrayal of soldiers as half-limbed readers underscores their physical and emotional scars, yet the voices and perspectives of women, often affected by war through loss and displacement, remain marginalized. This theory critiques the poem’s depiction of war’s impact solely through a masculine lens, questioning whose stories and voices are privileged in narratives of conflict.
New Historicism Literary Theory: New Historicism examines “Smile, Smile, Smile” in its historical context, emphasizing how Owen’s portrayal of wartime propaganda and soldierly experiences reflects broader cultural and political tensions of World War I. The references to Peace would do wrong to our undying dead and The sons we offered might regret they died illustrate Owen’s critique of nationalist rhetoric and the manipulation of public sentiment for political ends. By exploring contemporary newspapers (Yesterday’s Mail) and societal attitudes towards war and sacrifice, Owen critiques the official narratives of heroism and national integrity. This theory highlights how Owen’s poem engages with and challenges dominant historical discourses, offering a critical perspective on the consequences of war beyond conventional narratives of valor and victory.
Critical Questions: “Smile, Smile, Smile” by Wilfred Owen
How does Owen use irony to convey the poem’s message?
The title, “Smile, Smile, Smile,” is a starkly ironic contrast to the grim reality the poem depicts. The soldiers’ smiles, far from genuine expressions of happiness, are portrayed as a result of manipulation and forced optimism. This irony underscores the poem’s critique of propaganda and the disconnect between the soldiers’ experiences and the public’s perception. The repetition of “Smile” further amplifies this irony, making it a haunting refrain that echoes the soldiers’ silent suffering.
What is the significance of the newspaper in the poem?
The newspaper serves as a symbol of the lies and propaganda disseminated by the government to maintain public support for the war. The wounded soldiers reading about “Vast Booty” and “Cheap Homes” highlight the stark contrast between the government’s promises and the soldiers’ grim reality. The newspaper also represents the public’s detachment from the war’s horrors, as they remain oblivious to the true cost of the conflict.
How does Owen portray the soldiers in the poem?
The soldiers are depicted as victims of both physical and psychological trauma. Their “sunk-eyed” and “half-limbed” appearance reflects the physical toll of war, while their curious smiles suggest a shared understanding of the lies they’ve been fed. Owen portrays them as dehumanized and objectified, reduced to mere statistics in the “casualties (typed small)” section of the newspaper. Yet, their silent camaraderie and knowing glances hint at a deeper understanding of the war’s futility and absurdity.
What is the overall message or theme of the poem?
The poem’s central theme is the disillusionment and betrayal experienced by soldiers in the face of war propaganda. Owen exposes the hypocrisy and manipulation behind the cheerful facade presented to the public, revealing the true cost of war in terms of human suffering and loss. The poem also questions the concept of nationalism and the blind obedience demanded of soldiers, suggesting that the true victims of war are often those who are most deeply invested in its supposed glory.
Topics, Essays Questions and Thesis Statements about “Smile, Smile, Smile” by Wilfred Owen
How does Wilfred Owen depict the emotional and psychological toll of war on soldiers in “Smile, Smile, Smile”?
In “Smile, Smile, Smile,” Wilfred Owen portrays soldiers as disillusioned and marginalized by societal expectations, revealing the profound emotional and psychological scars left by war.
2. Critique of Propaganda and Nationalism
Discuss Owen’s critique of wartime propaganda and nationalism in “Smile, Smile, Smile.”
“Smile, Smile, Smile” critiques wartime propaganda by exposing how it manipulates public sentiment and undermines the true human cost of war, challenging notions of heroism and national identity.
3. Gender Dynamics and War
How does Owen address gender dynamics and the absence of female voices in “Smile, Smile, Smile”?
Owen’s portrayal in “Smile, Smile, Smile” underscores the gendered experiences of war, highlighting the absence of female perspectives and critiquing the societal roles imposed on men during wartime.
4. Historical Context and Cultural Critique
Analyze “Smile, Smile, Smile” within its historical context, exploring Owen’s cultural critique of World War I society.
“Smile, Smile, Smile” reflects Wilfred Owen’s critical examination of World War I society, exposing the hypocrisy and disillusionment amidst patriotic fervor and national sacrifice.
Literary Works Similar to “Smile, Smile, Smile” by Wilfred Owen
“Anthem for Doomed Youth” by Wilfred Owen – A poignant portrayal of the horrors of war and its impact on young soldiers.
“Dulce et Decorum Est” by Wilfred Owen – Exposes the brutal reality of warfare, challenging the romanticized notion of dying for one’s country.
“The Soldier” by Rupert Brooke – A contrasting poem that idealizes death in service of one’s nation, reflecting the patriotic fervor of the time.
“In Flanders Fields” by John McCrae – Uses vivid imagery to commemorate fallen soldiers and reflects on the enduring presence of war.
“The Next War” by Wilfred Owen – Anticipates the futility and continuation of conflict, questioning the lessons learned from past sacrifices.
Suggested Readings: “Smile, Smile, Smile” by Wilfred Owen
“Head to limp head, the sunk-eyed wounded scanned / Yesterday’s Mail…”
The opening lines establish the setting: wounded soldiers reading the newspaper.
Realism: Owen’s graphic depiction of the wounded soldiers contrasts sharply with the idealized images of war often presented in propaganda.
“Vast Booty from our Latest Haul. / Also, they read of Cheap Homes, not yet planned…”
The newspaper juxtaposes reports of war spoils with promises of postwar prosperity, highlighting the government’s manipulation of information.
Marxism: This reveals the economic motives behind war and the exploitation of soldiers for the benefit of the ruling class.
“Peace would do wrong to our undying dead,— / The sons we offered might regret they died / If we got nothing lasting in their stead.”
The poem critiques the idea that continued warfare is necessary to honor the sacrifices of fallen soldiers.
Pacifism: Owen challenges the glorification of war and suggests that peace is the true way to honor the dead.
“Nation?—The half-limbed readers did not chafe / But smiled at one another curiously / Like secret men who know their secret safe.”
The soldiers’ smiles are not expressions of joy but of shared understanding and resignation in the face of the war’s absurdity.
Psychoanalytic Theory: The smiles could be interpreted as a defense mechanism against the trauma of war, a way to cope with the unspeakable horrors they have witnessed.
“Pictures of these broad smiles appear each week, / And people in whose voice real feeling rings / Say: How they smile! They’re happy now, poor things.”
The final lines emphasize the disconnect between the soldiers’ experiences and the public’s perception, fueled by propaganda.
Media Studies: Owen critiques the role of media in shaping public opinion and perpetuating the myth of a glorious war.
“Self-Portrait in a Convex Mirror” by John Ashbery, first published in 1974 in the Poetry magazine, is a complex and evocative poem۔
Introduction: “Self-Portrait in a Convex Mirror” by John Ashbery
“Self-Portrait in a Convex Mirror” by John Ashbery, first published in 1974 in the Poetry magazine, is a complex and evocative poem that delves into themes of art, perception, and the nature of self. Inspired by the 16th-century painting of the same name by Parmigianino, Ashbery’s poem weaves together ekphrastic descriptions of the artwork with philosophical musings on time, memory, and the limitations of representation. The poem’s fragmented structure, shifting perspectives, and elusive language create a sense of ambiguity and open-endedness, inviting readers to engage in their own interpretations of the artwork and the poem’s broader implications.
Text: “Self-Portrait in a Convex Mirror” by John Ashbery
As Parmigianino did it, the right hand Bigger than the head, thrust at the viewer And swerving easily away, as though to protect What it advertises. A few leaded panes, old beams, Fur, pleated muslin, a coral ring run together In a movement supporting the face, which swims Toward and away like the hand Except that it is in repose. It is what is Sequestered. Vasari says, “Francesco one day set himself To take his own portrait, looking at himself from that purpose In a convex mirror, such as is used by barbers . . . He accordingly caused a ball of wood to be made By a turner, and having divided it in half and Brought it to the size of the mirror, he set himself With great art to copy all that he saw in the glass,” Chiefly his reflection, of which the portrait Is the reflection, of which the portrait Is the reflection once removed. The glass chose to reflect only what he saw Which was enough for his purpose: his image Glazed, embalmed, projected at a 180-degree angle. The time of day or the density of the light Adhering to the face keeps it Lively and intact in a recurring wave Of arrival. The soul establishes itself. But how far can it swim out through the eyes And still return safely to its nest? The surface Of the mirror being convex, the distance increases Significantly; that is, enough to make the point That the soul is a captive, treated humanely, kept In suspension, unable to advance much farther Than your look as it intercepts the picture. Pope Clement and his court were “stupefied” By it, according to Vasari, and promised a commission That never materialized. The soul has to stay where it is, Even though restless, hearing raindrops at the pane, The sighing of autumn leaves thrashed by the wind, Longing to be free, outside, but it must stay Posing in this place. It must move As little as possible. This is what the portrait says. But there is in that gaze a combination Of tenderness, amusement and regret, so powerful In its restraint that one cannot look for long. The secret is too plain. The pity of it smarts, Makes hot tears spurt: that the soul is not a soul, Has no secret, is small, and it fits Its hollow perfectly: its room, our moment of attention. That is the tune but there are no words. The words are only speculation (From the Latin speculum, mirror): They seek and cannot find the meaning of the music. We see only postures of the dream, Riders of the motion that swings the face Into view under evening skies, with no False disarray as proof of authenticity. But it is life englobed. One would like to stick one’s hand Out of the globe, but its dimension, What carries it, will not allow it. No doubt it is this, not the reflex To hide something, which makes the hand loom large As it retreats slightly. There is no way To build it flat like a section of wall: It must join the segment of a circle, Roving back to the body of which it seems So unlikely a part, to fence in and shore up the face On which the effort of this condition reads Like a pinpoint of a smile, a spark Or star one is not sure of having seen As darkness resumes. A perverse light whose Imperative of subtlety dooms in advance its Conceit to light up: unimportant but meant. Francesco, your hand is big enough To wreck the sphere, and too big, One would think, to weave delicate meshes That only argue its further detention. (Big, but not coarse, merely on another scale, Like a dozing whale on the sea bottom In relation to the tiny, self-important ship On the surface.) But your eyes proclaim That everything is surface. The surface is what’s there And nothing can exist except what’s there. There are no recesses in the room, only alcoves, And the window doesn’t matter much, or that Sliver of window or mirror on the right, even As a gauge of the weather, which in French is Le temps, the word for time, and which Follows a course wherein changes are merely Features of the whole. The whole is stable within Instability, a globe like ours, resting On a pedestal of vacuum, a ping-pong ball Secure on its jet of water. And just as there are no words for the surface, that is, No words to say what it really is, that it is not Superficial but a visible core, then there is No way out of the problem of pathos vs. experience. You will stay on, restive, serene in Your gesture which is neither embrace nor warning But which holds something of both in pure Affirmation that doesn’t affirm anything.
The balloon pops, the attention Turns dully away. Clouds In the puddle stir up into sawtoothed fragments. I think of the friends Who came to see me, of what yesterday Was like. A peculiar slant Of memory that intrudes on the dreaming model In the silence of the studio as he considers Lifting the pencil to the self-portrait. How many people came and stayed a certain time, Uttered light or dark speech that became part of you Like light behind windblown fog and sand, Filtered and influenced by it, until no part Remains that is surely you. Those voices in the dusk Have told you all and still the tale goes on In the form of memories deposited in irregular Clumps of crystals. Whose curved hand controls, Francesco, the turning seasons and the thoughts That peel off and fly away at breathless speeds Like the last stubborn leaves ripped From wet branches? I see in this only the chaos Of your round mirror which organizes everything Around the polestar of your eyes which are empty, Know nothing, dream but reveal nothing. I feel the carousel starting slowly And going faster and faster: desk, papers, books, Photographs of friends, the window and the trees Merging in one neutral band that surrounds Me on all sides, everywhere I look. And I cannot explain the action of leveling, Why it should all boil down to one Uniform substance, a magma of interiors. My guide in these matters is your self, Firm, oblique, accepting everything with the same Wraith of a smile, and as time speeds up so that it is soon Much later, I can know only the straight way out, The distance between us. Long ago The strewn evidence meant something, The small accidents and pleasures Of the day as it moved gracelessly on, A housewife doing chores. Impossible now To restore those properties in the silver blur that is The record of what you accomplished by sitting down “With great art to copy all that you saw in the glass” So as to perfect and rule out the extraneous Forever. In the circle of your intentions certain spars Remain that perpetuate the enchantment of self with self: Eyebeams, muslin, coral. It doesn’t matter Because these are things as they are today Before one’s shadow ever grew Out of the field into thoughts of tomorrow.
Tomorrow is easy, but today is uncharted, Desolate, reluctant as any landscape To yield what are laws of perspective After all only to the painter’s deep Mistrust, a weak instrument though Necessary. Of course some things Are possible, it knows, but it doesn’t know Which ones. Some day we will try To do as many things as are possible And perhaps we shall succeed at a handful Of them, but this will not have anything To do with what is promised today, our Landscape sweeping out from us to disappear On the horizon. Today enough of a cover burnishes To keep the supposition of promises together In one piece of surface, letting one ramble Back home from them so that these Even stronger possibilities can remain Whole without being tested. Actually The skin of the bubble-chamber’s as tough as Reptile eggs; everything gets “programmed” there In due course: more keeps getting included Without adding to the sum, and just as one Gets accustomed to a noise that Kept one awake but now no longer does, So the room contains this flow like an hourglass Without varying in climate or quality (Except perhaps to brighten bleakly and almost Invisibly, in a focus sharpening toward death–more Of this later). What should be the vacuum of a dream Becomes continually replete as the source of dreams Is being tapped so that this one dream May wax, flourish like a cabbage rose, Defying sumptuary laws, leaving us To awake and try to begin living in what Has now become a slum. Sydney Freedberg in his Parmigianino says of it: “Realism in this portrait No longer produces and objective truth, but a bizarria . . . . However its distortion does not create A feeling of disharmony . . . . The forms retain A strong measure of ideal beauty,” because Fed by our dreams, so inconsequential until one day We notice the hole they left. Now their importance If not their meaning is plain. They were to nourish A dream which includes them all, as they are Finally reversed in the accumulating mirror. They seemed strange because we couldn’t actually see them. And we realize this only at a point where they lapse Like a wave breaking on a rock, giving up Its shape in a gesture which expresses that shape. The forms retain a strong measure of ideal beauty As they forage in secret on our idea of distortion. Why be unhappy with this arrangement, since Dreams prolong us as they are absorbed? Something like living occurs, a movement Out of the dream into its codification.
As I start to forget it It presents its stereotype again But it is an unfamiliar stereotype, the face Riding at anchor, issued from hazards, soon To accost others, “rather angel than man” (Vasari). Perhaps an angel looks like everything We have forgotten, I mean forgotten Things that don’t seem familiar when We meet them again, lost beyond telling, Which were ours once. This would be the point Of invading the privacy of this man who “Dabbled in alchemy, but whose wish Here was not to examine the subtleties of art In a detached, scientific spirit: he wished through them To impart the sense of novelty and amazement to the spectator” (Freedberg). Later portraits such as the Uffizi “Gentleman,” the Borghese “Young Prelate” and The Naples “Antea” issue from Mannerist Tensions, but here, as Freedberg points out, The surprise, the tension are in the concept Rather than its realization. The consonance of the High Renaissance Is present, though distorted by the mirror. What is novel is the extreme care in rendering The velleities of the rounded reflecting surface (It is the first mirror portrait), So that you could be fooled for a moment Before you realize the reflection Isn’t yours. You feel then like one of those Hoffmann characters who have been deprived Of a reflection, except that the whole of me Is seen to be supplanted by the strict Otherness of the painter in his Other room. We have surprised him At work, but no, he has surprised us As he works. The picture is almost finished, The surprise almost over, as when one looks out, Startled by a snowfall which even now is Ending in specks and sparkles of snow. It happened while you were inside, asleep, And there is no reason why you should have Been awake for it, except that the day Is ending and it will be hard for you To get to sleep tonight, at least until late.
The shadow of the city injects its own Urgency: Rome where Francesco Was at work during the Sack: his inventions Amazed the soldiers who burst in on him; They decided to spare his life, but he left soon after; Vienna where the painting is today, where I saw it with Pierre in the summer of 1959; New York Where I am now, which is a logarithm Of other cities. Our landscape Is alive with filiations, shuttlings; Business is carried on by look, gesture, Hearsay. It is another life to the city, The backing of the looking glass of the Unidentified but precisely sketched studio. It wants To siphon off the life of the studio, deflate Its mapped space to enactments, island it. That operation has been temporarily stalled But something new is on the way, a new preciosity In the wind. Can you stand it, Francesco? Are you strong enough for it? This wind brings what it knows not, is Self–propelled, blind, has no notion Of itself. It is inertia that once Acknowledged saps all activity, secret or public: Whispers of the word that can’t be understood But can be felt, a chill, a blight Moving outward along the capes and peninsulas Of your nervures and so to the archipelagoes And to the bathed, aired secrecy of the open sea. This is its negative side. Its positive side is Making you notice life and the stresses That only seemed to go away, but now, As this new mode questions, are seen to be Hastening out of style. If they are to become classics They must decide which side they are on. Their reticence has undermined The urban scenery, made its ambiguities Look willful and tired, the games of an old man. What we need now is this unlikely Challenger pounding on the gates of an amazed Castle. Your argument, Francesco, Had begun to grow stale as no answer Or answers were forthcoming. If it dissolves now Into dust, that only means its time had come Some time ago, but look now, and listen: It may be that another life is stocked there In recesses no one knew of; that it, Not we, are the change; that we are in fact it If we could get back to it, relive some of the way It looked, turn our faces to the globe as it sets And still be coming out all right: Nerves normal, breath normal. Since it is a metaphor Made to include us, we are a part of it and Can live in it as in fact we have done, Only leaving our minds bare for questioning We now see will not take place at random But in an orderly way that means to menace Nobody–the normal way things are done, Like the concentric growing up of days Around a life: correctly, if you think about it.
A breeze like the turning of a page Brings back your face: the moment Takes such a big bite out of the haze Of pleasant intuition it comes after. The locking into place is “death itself,” As Berg said of a phrase in Mahler’s Ninth; Or, to quote Imogen in Cymbeline, “There cannot Be a pinch in death more sharp than this,” for, Though only exercise or tactic, it carries The momentum of a conviction that had been building. Mere forgetfulness cannot remove it Nor wishing bring it back, as long as it remains The white precipitate of its dream In the climate of sighs flung across our world, A cloth over a birdcage. But it is certain that What is beautiful seems so only in relation to a specific Life, experienced or not, channeled into some form Steeped in the nostalgia of a collective past. The light sinks today with an enthusiasm I have known elsewhere, and known why It seemed meaningful, that others felt this way Years ago. I go on consulting This mirror that is no longer mine For as much brisk vacancy as is to be My portion this time. And the vase is always full Because there is only just so much room And it accommodates everything. The sample One sees is not to be taken as Merely that, but as everything as it May be imagined outside time–not as a gesture But as all, in the refined, assimilable state. But what is this universe the porch of As it veers in and out, back and forth, Refusing to surround us and still the only Thing we can see? Love once Tipped the scales but now is shadowed, invisible, Though mysteriously present, around somewhere. But we know it cannot be sandwiched Between two adjacent moments, that its windings Lead nowhere except to further tributaries And that these empty themselves into a vague Sense of something that can never be known Even though it seems likely that each of us Knows what it is and is capable of Communicating it to the other. But the look Some wear as a sign makes one want to Push forward ignoring the apparent NaÏveté of the attempt, not caring That no one is listening, since the light Has been lit once and for all in their eyes And is present, unimpaired, a permanent anomaly, Awake and silent. On the surface of it There seems no special reason why that light Should be focused by love, or why The city falling with its beautiful suburbs Into space always less clear, less defined, Should read as the support of its progress, The easel upon which the drama unfolded To its own satisfaction and to the end Of our dreaming, as we had never imagined It would end, in worn daylight with the painted Promise showing through as a gage, a bond. This nondescript, never-to-be defined daytime is The secret of where it takes place And we can no longer return to the various Conflicting statements gathered, lapses of memory Of the principal witnesses. All we know Is that we are a little early, that Today has that special, lapidary Todayness that the sunlight reproduces Faithfully in casting twig-shadows on blithe Sidewalks. No previous day would have been like this. I used to think they were all alike, That the present always looked the same to everybody But this confusion drains away as one Is always cresting into one’s present. Yet the “poetic,” straw-colored space Of the long corridor that leads back to the painting, Its darkening opposite–is this Some figment of “art,” not to be imagined As real, let alone special? Hasn’t it too its lair In the present we are always escaping from And falling back into, as the waterwheel of days Pursues its uneventful, even serene course? I think it is trying to say it is today And we must get out of it even as the public Is pushing through the museum now so as to Be out by closing time. You can’t live there. The gray glaze of the past attacks all know-how: Secrets of wash and finish that took a lifetime To learn and are reduced to the status of Black-and-white illustrations in a book where colorplates Are rare. That is, all time Reduces to no special time. No one Alludes to the change; to do so might Involve calling attention to oneself Which would augment the dread of not getting out Before having seen the whole collection (Except for the sculptures in the basement: They are where they belong). Our time gets to be veiled, compromised By the portrait’s will to endure. It hints at Our own, which we were hoping to keep hidden. We don’t need paintings or Doggerel written by mature poets when The explosion is so precise, so fine. Is there any point even in acknowledging The existence of all that? Does it Exist? Certainly the leisure to Indulge stately pastimes doesn’t, Any more. Today has no margins, the event arrives Flush with its edges, is of the same substance, Indistinguishable. “Play” is something else; It exists, in a society specifically Organized as a demonstration of itself. There is no other way, and those assholes Who would confuse everything with their mirror games Which seem to multiply stakes and possibilities, or At least confuse issues by means of an investing Aura that would corrode the architecture Of the whole in a haze of suppressed mockery, Are beside the point. They are out of the game, Which doesn’t exist until they are out of it. It seems like a very hostile universe But as the principle of each individual thing is Hostile to, exists at the expense of all the others As philosophers have often pointed out, at least This thing, the mute, undivided present, Has the justification of logic, which In this instance isn’t a bad thing Or wouldn’t be, if the way of telling Didn’t somehow intrude, twisting the end result Into a caricature of itself. This always Happens, as in the game where A whispered phrase passed around the room Ends up as something completely different. It is the principle that makes works of art so unlike What the artist intended. Often he finds He has omitted the thing he started out to say In the first place. Seduced by flowers, Explicit pleasures, he blames himself (though Secretly satisfied with the result), imagining He had a say in the matter and exercised An option of which he was hardly conscious, Unaware that necessity circumvents such resolutions. So as to create something new For itself, that there is no other way, That the history of creation proceeds according to Stringent laws, and that things Do get done in this way, but never the things We set out to accomplish and wanted so desperately To see come into being. Parmigianino Must have realized this as he worked at his Life-obstructing task. One is forced to read The perfectly plausible accomplishment of a purpose Into the smooth, perhaps even bland (but so Enigmatic) finish. Is there anything To be serious about beyond this otherness That gets included in the most ordinary Forms of daily activity, changing everything Slightly and profoundly, and tearing the matter Of creation, any creation, not just artistic creation Out of our hands, to install it on some monstrous, near Peak, too close to ignore, too far For one to intervene? This otherness, this “Not-being-us” is all there is to look at In the mirror, though no one can say How it came to be this way. A ship Flying unknown colors has entered the harbor. You are allowing extraneous matters To break up your day, cloud the focus Of the crystal ball. Its scene drifts away Like vapor scattered on the wind. The fertile Thought-associations that until now came So easily, appear no more, or rarely. Their Colorings are less intense, washed out By autumn rains and winds, spoiled, muddied, Given back to you because they are worthless. Yet we are such creatures of habit that their Implications are still around en permanence, confusing Issues. To be serious only about sex Is perhaps one way, but the sands are hissing As they approach the beginning of the big slide Into what happened. This past Is now here: the painter’s Reflected face, in which we linger, receiving Dreams and inspirations on an unassigned Frequency, but the hues have turned metallic, The curves and edges are not so rich. Each person Has one big theory to explain the universe But it doesn’t tell the whole story And in the end it is what is outside him That matters, to him and especially to us Who have been given no help whatever In decoding our own man-size quotient and must rely On second-hand knowledge. Yet I know That no one else’s taste is going to be Any help, and might as well be ignored. Once it seemed so perfect–gloss on the fine Freckled skin, lips moistened as though about to part Releasing speech, and the familiar look Of clothes and furniture that one forgets. This could have been our paradise: exotic Refuge within an exhausted world, but that wasn’t In the cards, because it couldn’t have been The point. Aping naturalness may be the first step Toward achieving an inner calm But it is the first step only, and often Remains a frozen gesture of welcome etched On the air materializing behind it, A convention. And we have really No time for these, except to use them For kindling. The sooner they are burnt up The better for the roles we have to play. Therefore I beseech you, withdraw that hand, Offer it no longer as shield or greeting, The shield of a greeting, Francesco: There is room for one bullet in the chamber: Our looking through the wrong end Of the telescope as you fall back at a speed Faster than that of light to flatten ultimately Among the features of the room, an invitation Never mailed, the “it was all a dream” Syndrome, though the “all” tells tersely Enough how it wasn’t. Its existence Was real, though troubled, and the ache Of this waking dream can never drown out The diagram still sketched on the wind, Chosen, meant for me and materialized In the disguising radiance of my room. We have seen the city; it is the gibbous Mirrored eye of an insect. All things happen On its balcony and are resumed within, But the action is the cold, syrupy flow Of a pageant. One feels too confined, Sifting the April sunlight for clues, In the mere stillness of the ease of its Parameter. The hand holds no chalk And each part of the whole falls off And cannot know it knew, except Here and there, in cold pockets Of remembrance, whispers out of time.
Annotations: “Self-Portrait in a Convex Mirror” by John Ashbery
“As Parmigianino did it, the right hand / Bigger than the head, thrust at the viewer”
Reference to Parmigianino’s famous self-portrait painted in a convex mirror, which distorts proportions.
“A few leaded panes, old beams, / Fur, pleated muslin, a coral ring run together”
Description of elements in the portrait, blending Renaissance and Baroque aesthetics.
“Vasari says, ‘Francesco one day set himself / To take his own portrait, looking at himself from that purpose / In a convex mirror, such as is used by barbers . . .'”
Quoting Giorgio Vasari’s “Lives of the Artists” to provide historical context.
“The glass chose to reflect only what he saw / Which was enough for his purpose: his image”
Exploration of the relationship between the artist’s perception and reality.
“The soul establishes itself. / But how far can it swim out through the eyes / And still return safely to its nest?”
Philosophical musing on the nature of the soul and self-perception.
“Pope Clement and his court were ‘stupefied’ / By it, according to Vasari”
Historical reference to the reception of Parmigianino’s work by Pope Clement VII.
“The surface / Of the mirror being convex, the distance increases / Significantly;”
Analysis of the effect of the convex mirror on perception and representation.
“Francesco, your hand is big enough / To wreck the sphere, and too big, / One would think, to weave delicate meshes”
Commentary on the tension between the physical and the delicate nature of artistic creation.
“But your eyes proclaim / That everything is surface. The surface is what’s there / And nothing can exist except what’s there.”
Reflection on the philosophical idea that surface reality is all that exists.
“Our landscape / Is alive with filiations, shuttlings; / Business is carried on by look, gesture,”
Imagery depicting the vibrant, interconnected nature of contemporary life.
“A breeze like the turning of a page / Brings back your face: the moment / Takes such a big bite out of the haze / Of pleasant intuition it comes after.”
Metaphor comparing a breeze to the turning of a page, symbolizing sudden clarity or realization.
“The gray glaze of the past attacks all know-how: / Secrets of wash and finish that took a lifetime / To learn”
Lamenting the loss of traditional artistic skills and techniques over time.
“Today has no margins, the event arrives / Flush with its edges, is of the same substance, / Indistinguishable.”
Comment on the modern experience of time and events as seamless and indistinct.
“Often he finds / He has omitted the thing he started out to say / In the first place.”
Reflection on the artistic process and how it often diverges from initial intentions.
“Parmigianino / Must have realized this as he worked at his / Life-obstructing task.”
Concluding thought on Parmigianino’s awareness of the inherent challenges in his artistic endeavor.
Literary And Poetic Devices: “Self-Portrait in a Convex Mirror” by John Ashbery
The general character or attitude of a place, piece of writing, situation, etc.
Reflects the melancholy and contemplative mood of the poem
Themes: “Self-Portrait in a Convex Mirror” by John Ashbery
Art and Perception: The poem extensively explores the nature of art and how it shapes and distorts perception. Ashbery uses Parmigianino’s self-portrait as a metaphor for the ways art manipulates reality, emphasizing the distorted proportions caused by the convex mirror. This distortion is highlighted in lines such as, “As Parmigianino did it, the right hand / Bigger than the head, thrust at the viewer,” which showcases the deliberate alteration of physical dimensions to create a specific artistic effect.
Parmigianino’s self-portrait as a symbol
Distortion of reality through art
Visual manipulation and perception
Philosophical Musings on Self and Soul: Ashbery delves into philosophical reflections on the nature of the self and the soul, questioning how far the soul can extend beyond the physical body. This theme is poignantly expressed in lines like, “The soul establishes itself. / But how far can it swim out through the eyes / And still return safely to its nest?” Here, Ashbery contemplates the limits of self-perception and the essence of identity beyond the physical form.
Contemplation of the soul’s reach
Identity beyond physical appearance
Limits of self-perception
Temporal Displacement and Historical Context: The poem juxtaposes different time periods, reflecting on the loss of traditional artistic skills and the seamless nature of contemporary experiences. Ashbery laments, “The gray glaze of the past attacks all know-how: / Secrets of wash and finish that took a lifetime / To learn,” indicating a disconnection from the meticulous craftsmanship of the past. This theme underscores the impact of time on art and perception.
Juxtaposition of past and present
Loss of traditional skills
Impact of time on art and experience
Modernity and Fragmented Reality: Ashbery captures the fragmented and interconnected nature of modern life, where events blend seamlessly without distinct boundaries. He remarks, “Today has no margins, the event arrives / Flush with its edges, is of the same substance, / Indistinguishable.” This observation highlights the blurred lines in contemporary experiences and the challenge of finding distinct meaning in a constantly shifting reality.
Fragmentation of modern life
Blurred boundaries of events
Search for meaning in contemporary experiences
Critical Questions about “Self-Portrait in a Convex Mirror” by John Ashbery
How does Ashbery’s poem challenge the traditional concept of the self-portrait through its engagement with Parmigianino’s painting?
Ashbery’s poem doesn’t merely describe the painting; it interrogates the very act of self-representation. While Parmigianino’s convex mirror distorts the physical image, Ashbery suggests that the distortion lies deeper, in the gap between the self as subject and the self as object of representation. Lines like “The soul is a captive, treated humanely, kept in suspension” and “The soul is not a soul, / Has no secret, is small” question the ability of any portrait, be it painted or poetic, to capture the essence of a person. This challenges the notion that a self-portrait can offer a definitive or authentic representation of the self.
How does Ashbery explore the relationship between art, perception, and reality in “Self-Portrait in a Convex Mirror”?
The poem delves into the complexities of how art mediates our perception of reality, particularly self-perception. The convex mirror acts as a symbol of both distortion and revelation, showing us a version of ourselves that is both familiar and unfamiliar. The lines “everything is surface” and “there are no recesses in the room, only alcoves” suggest that the visible world is all we have access to, yet it is also constantly shifting and elusive. Through the poem’s engagement with Parmigianino’s painting, Ashbery questions whether art can ever fully capture the truth of reality, or if it inevitably distorts and reshapes our understanding of the world.
How does the poem’s structure and style contribute to its overall meaning and effect?
Ashbery’s poem is characterized by its fragmented structure, shifting perspectives, and digressive nature. The poem weaves together ekphrastic descriptions of the painting with personal reflections, philosophical musings, and historical allusions. This fragmented form mirrors the fragmented nature of the self, the difficulty of capturing it in a unified representation. The poem’s shifting perspectives, sometimes adopting the voice of the poet, sometimes that of Parmigianino, or even the painting itself, create a sense of ambiguity and open-endedness, inviting readers to actively participate in the creation of meaning.
What is the role of time and memory in Ashbery’s exploration of the self in “Self-Portrait in a Convex Mirror”?
The poem grapples with the elusive nature of time and memory, suggesting that our understanding of the self is constantly shaped and reshaped by the passage of time and the accumulation of memories. The lines “A peculiar slant of memory that intrudes on the dreaming model” and “Whose curved hand controls, Francesco, the turning seasons and the thoughts that peel off and fly away…” highlight the role of memory in both distorting and preserving our sense of self. Time is portrayed as both a destructive and creative force, eroding the past while simultaneously giving rise to new possibilities for self-understanding. The poem suggests that our relationship to time and memory is a central aspect of our identity, shaping who we are and how we see ourselves.
Topics, Questions, and Thesis Statements about “Self-Portrait in a Convex Mirror” by John Ashbery
How does Ashbery use Parmigianino’s self-portrait to explore the relationship between art and reality?
Ashbery uses the distortion in Parmigianino’s self-portrait to highlight the manipulative nature of art in shaping and altering our perception of reality.
Philosophical Musings on Self and Soul
What does the poem suggest about the nature of the self and the soul?
“Self-Portrait in a Convex Mirror” suggests that the soul’s essence transcends physical form, raising questions about the boundaries of self-perception and identity.
Temporal Displacement and Historical Context
How does Ashbery address the impact of time on artistic skills and perception?
Ashbery contrasts the meticulous craftsmanship of the past with the seamless, fragmented nature of contemporary experiences, highlighting the temporal displacement in art and perception.
Modernity and Fragmented Reality
In what ways does the poem reflect the fragmented and interconnected nature of modern life?
The poem portrays modern life as a series of seamless, indistinguishable events, emphasizing the difficulty in finding distinct meaning in a fragmented, interconnected reality.
Literary Works Similar to “Self-Portrait in a Convex Mirror” by John Ashbery
“The Waste Land” by T.S. Eliot: Like Ashbery, Eliot’s poem explores fragmented perceptions and the complexities of modern existence.
“The Love Song of J. Alfred Prufrock” by T.S. Eliot: This poem delves into the introspective and fragmented nature of self-perception, similar to Ashbery’s work.
“The Idea of Order at Key West” by Wallace Stevens: Stevens’ poem examines the relationship between reality and artistic creation, akin to Ashbery’s themes.
“The Man with the Blue Guitar” by Wallace Stevens: Stevens’ exploration of art and reality mirrors Ashbery’s reflections on perception and representation.
“Directive” by Robert Frost: Frost’s poem navigates the blurred lines between past and present, echoing Ashbery’s temporal displacement themes.
Suggested Readings: “Self-Portrait in a Convex Mirror” by John Ashbery
Books:
Ashbery, John. Self-Portrait in a Convex Mirror. Penguin Books, 1975.
“As Parmigianino did it, the right hand / Bigger than the head, thrust at the viewer / And swerving easily away”
Describes the painting technique used by Parmigianino, focusing on the distortion created by the convex mirror.
Ekphrasis and the relationship between visual and literary arts
“The glass chose to reflect only what he saw”
Highlights the subjective nature of perception and reflection.
Subjectivity and phenomenology
“Your eyes proclaim / That everything is surface”
Suggests the superficial nature of appearances and the depth beneath them.
Postmodernism and surface/depth dichotomy
“But your eyes proclaim / That everything is surface. The surface is what’s there / And nothing can exist except what’s there”
Reinforces the idea that only the visible surface is acknowledged, denying deeper meanings.
Postmodern skepticism of depth and meaning
“The soul establishes itself. / But how far can it swim out through the eyes / And still return safely to its nest?”
Questions the limits of the soul’s expression through physical form and perception.
Metaphysics and the limits of self-representation
“It is as though my life will never get better than / This, never reach this stage of being lived / And presented, which is the happiness / Of the artist looking at the finished work”
Reflects on the fleeting nature of perfection and artistic achievement.
Aesthetic theory and the temporality of art
“We have seen the city; it is the gibbous / Mirrored eye of an insect.”
Uses a surreal image to convey the distorted and fragmented perception of reality.
“Richard Cory” by Edwin Arlington Robinson first appeared in 1897 in the collection The Children of the Night.
Introduction: “Richard Cory” by Edwin Arlington Robinson
“Richard Cory” by Edwin Arlington Robinson first appeared in 1897 in the collection The Children of the Night. The poem, one of Robinson’s most famous, is noted for its stark simplicity of language and form, which effectively underscores the tragic irony of the narrative. It tells the story of a wealthy, admired man who seemingly has everything, yet takes his own life, challenging readers’ assumptions about happiness and success. The poem’s enduring appeal lies in its exploration of the hidden depths of human despair, the deceptive nature of appearances, and the universal longing for connection and understanding.
Text: “Richard Cory” by Edwin Arlington Robinson
Whenever Richard Cory went down town,
We people on the pavement looked at him:
He was a gentleman from sole to crown,
Clean favored, and imperially slim.
And he was always quietly arrayed,
And he was always human when he talked;
But still he fluttered pulses when he said,
“Good-morning,” and he glittered when he walked.
And he was rich—yes, richer than a king—
And admirably schooled in every grace:
In fine, we thought that he was everything
To make us wish that we were in his place.
So on we worked, and waited for the light,
And went without the meat, and cursed the bread;
And Richard Cory, one calm summer night,
Went home and put a bullet through his head.
Annotations: “Richard Cory” by Edwin Arlington Robinson
Stanza
Annotation
1
Introduces Richard Cory, a wealthy and refined gentleman who commands attention and admiration from the public.
2
Describes Cory’s elegant appearance and demeanor, describing him as “quietly arrayed” and “human” in conversation, but also captivating and impressive.
3
Emphasizes Cory’s wealth and refinement, suggesting that he has everything anyone could want, leading the public to envy his position.
4
Contrasts the public’s struggles and hardships with Cory’s apparent perfection, leading to a shocking revelation that Cory has committed suicide, suggesting that appearances can be deceiving.
Literary And Poetic Devices: “Richard Cory” by Edwin Arlington Robinson
Themes: “Richard Cory” by Edwin Arlington Robinson
The Illusion of Happiness: The poem primarily focuses on the deceptive nature of appearances. Richard Cory is presented as the embodiment of success, with the townspeople viewing him as the epitome of happiness due to his wealth, charm, and social standing. The lines “clean favored, and imperially slim” and “glittered when he walked” create an image of perfection and allure. However, the shocking ending, “Went home and put a bullet through his head,” shatters this illusion, highlighting that material wealth and external appearances do not guarantee happiness.
Social Disparity and Envy: The poem also explores the theme of social inequality. The “people on the pavement” represent the working class, who admire and envy Cory’s seemingly perfect life. The lines “we thought that he was everything/ To make us wish that we were in his place” underscore this yearning for a better life. Yet, the poem suggests that envy and comparison can be misleading, as Cory’s internal struggles remain hidden from the outside world.
Isolation and Loneliness: Despite his outward charm and social interactions, Richard Cory’s suicide suggests a profound sense of isolation. The poem does not delve into his inner thoughts, but his actions imply a deep-seated loneliness and despair. The phrase “always quietly arrayed” may hint at a reserved nature that prevented him from forming genuine connections, ultimately leading to his tragic end.
The Futility of Materialism: The poem critiques the pursuit of material wealth as the sole source of happiness. Richard Cory’s riches and possessions ultimately fail to fulfill him, leading to his demise. The lines “So on we worked, and waited for the light,/ And went without the meat, and cursed the bread” depict the townspeople’s struggle for basic necessities, contrasting sharply with Cory’s abundance. The poem implies that true happiness lies beyond material possessions, in genuine connections and inner peace.
Literary Theories and “Richard Cory” by Edwin Arlington Robinson
Marxist Theory: A Marxist reading of “Richard Cory” would focus on the socioeconomic disparities between Richard Cory and the townspeople. Cory is presented as a symbol of the capitalist elite, “richer than a king,” while the townspeople are the exploited working class, “went without the meat, and cursed the bread.” The poem highlights the stark contrast between their lives, suggesting that Cory’s wealth is built upon their labor. However, the Marxist critique oversimplifies the poem’s message. Cory’s suicide complicates the narrative, suggesting that wealth doesn’t necessarily lead to happiness or fulfillment, challenging the idea that economic status is the sole determinant of well-being.
Psychoanalytic Theory: A psychoanalytic approach might interpret Richard Cory’s suicide as a manifestation of repressed psychological trauma or a deep-seated existential crisis. The poem doesn’t explicitly reveal Cory’s inner life, but his outward perfection could be a mask concealing inner turmoil. The phrase “always quietly arrayed” may suggest a guarded personality, hinting at the suppression of emotions that ultimately lead to his tragic end. However, this interpretation relies on speculation about Cory’s psychology, as the poem offers no concrete evidence of his internal struggles.
New Criticism/Formalism: A formalist reading would analyze the poem’s structure, language, and literary devices to derive meaning. The poem’s consistent ABAB rhyme scheme and iambic pentameter create a sense of order and predictability, mirroring the townspeople’s perception of Cory’s life. The sudden shift in the final stanza, with Cory’s suicide, disrupts this order, highlighting the unexpected nature of his actions. However, this approach might overlook the poem’s social commentary and the broader implications of Cory’s tragedy. It focuses solely on the text itself, neglecting the historical and cultural context that informs the poem’s meaning.
Critical Questions about “Richard Cory” by Edwin Arlington Robinson
What is the significance of Richard Cory’s portrayal as a character?
Edwin Arlington Robinson’s portrayal of Richard Cory as a seemingly perfect and enviable figure serves as a critique of societal perceptions of wealth and success. Cory is depicted as wealthy, cultured, and admired by those around him, yet his tragic end reveals the stark contrast between outward appearances and internal reality. This portrayal underscores Robinson’s commentary on the dangers of placing too much value on external markers of success without considering the complexities of a person’s inner life. By juxtaposing Cory’s admired status with his ultimate despair, Robinson prompts readers to reflect on the limitations of material wealth and the often-hidden burdens carried by individuals deemed successful in society.
How does the use of irony contribute to the poem’s message?
Irony plays a pivotal role in “Richard Cory,” fundamentally shaping the poem’s message about the disconnect between appearance and reality. Cory is initially presented as a flawless and admired figure, admired by all who encounter him. However, the poem’s concluding lines reveal the shocking truth of Cory’s suicide, turning the initial admiration into a profound irony. This irony highlights the superficiality of societal judgments based solely on external appearances and wealth. Robinson employs irony not merely for dramatic effect but to provoke deeper contemplation on the complexities of human existence and the limitations of outward success as a measure of happiness.
What thematic contrasts are explored in the poem?
“Richard Cory” explores several thematic contrasts that enrich its narrative depth. The most striking is the contrast between appearance and reality. Cory is depicted as the embodiment of success, wealth, and social admiration, yet his tragic end reveals the unseen struggles and emotional turmoil beneath his composed exterior. Another thematic contrast is between social classes and perceptions of happiness. While the townspeople envy Cory’s life and status, his ultimate act challenges the assumption that material wealth equates to fulfillment. Additionally, the poem contrasts the public persona of Cory with his private suffering, underscoring the disparity between outward appearances and inner reality.
How does the poem’s structure enhance its thematic exploration?
Robinson’s choice of a traditional quatrain form with an ABAB rhyme scheme and consistent meter contributes to the poem’s thematic exploration in several ways. The structured form initially mirrors the orderly and seemingly perfect life of Richard Cory himself. However, the rigid structure also serves as a stark contrast to the underlying tension and eventual disruption revealed in the poem’s conclusion. The regularity of the form underscores the facade of perfection maintained by Cory, while the abruptness of his tragic end disrupts the poem’s rhythmic flow, mirroring the disruption of societal norms and expectations. Thus, the poem’s structure not only enhances the narrative’s impact but also reinforces its thematic exploration of appearances versus realities and the fragility of human contentment.
Topics, Questions, and Thesis Statements about “Richard Cory” by Edwin Arlington Robinson
How does Robinson critique societal attitudes towards wealth and success in “Richard Cory”?
In “Richard Cory,” Robinson critiques societal perceptions of wealth by juxtaposing Richard Cory’s admired exterior with his tragic reality, revealing the superficiality of social judgments based on material success.
Irony and Its Role
What role does irony play in shaping the message of “Richard Cory”?
Irony in “Richard Cory” underscores the disparity between appearances and realities, challenging the assumption that outward success equates to happiness and prompting a deeper reflection on the complexities of human emotions.
Characterization of Richard Cory
How does Robinson characterize Richard Cory in the poem?
Robinson portrays Richard Cory as a figure of admiration and envy among the townspeople, emphasizing his outward perfection while subtly hinting at the inner turmoil hidden beneath his facade.
Theme of Alienation and Isolation
How does “Richard Cory” explore the theme of alienation and isolation?
“Richard Cory” explores themes of alienation and isolation through Cory’s tragic fate, revealing the loneliness and disconnect that can exist even in the midst of outward success, thereby challenging conventional notions of happiness and fulfillment.
Literary Works Similar to “Richard Cory” by Edwin Arlington Robinson
“We Wear the Mask” by Paul Laurence Dunbar: This poem, like “Richard Cory,” explores the theme of hidden suffering behind a facade of normalcy, as individuals wear masks to conceal their pain from society.
“The Road Not Taken” by Robert Frost: Although more focused on individual choices, this poem shares the thematic concern of the unseen aspects of life, as the speaker contemplates the paths not taken and the unknown possibilities they represent.
“Ozymandias” by Percy Bysshe Shelley: Both poems reflect on the fleeting nature of power and glory, with Ozymandias’ crumbled statue serving as a stark reminder of the impermanence of human achievements.
“The Raven” by Edgar Allan Poe: While darker in tone, this poem shares the element of a sudden and tragic end, as the raven’s presence symbolizes the speaker’s descent into despair and grief.
“Do Not Go Gentle into That Good Night” by Dylan Thomas: Both poems grapple with the theme of mortality, as the speakers urge defiance against death and a celebration of life, even in the face of darkness.
Suggested Readings: “Richard Cory” by Edwin Arlington Robinson
“Remember” by Christina Rossetti was first published in 1862 in her collection Goblin Market and Other Poems.
Introduction: “Remember” by Christina Rossetti
“Remember” by Christina Rossetti was first published in 1862 in her collection Goblin Market and Other Poems. The poem is a Petrarchan sonnet, known for its emotional depth and evocative language. It explores themes of love, loss, and remembrance, with a focus on the speaker’s plea to be remembered after death. The poem’s enduring appeal lies in its universal themes, poignant imagery, and the musicality of its rhyme and meter.
“Better by far you should forget and smile / Than that you should remember and be sad”
A statement that appears to contradict itself but may nonetheless be true.
Creates a sense of poignancy and complexity, emphasizes the speaker’s selfless wish for the listener’s happiness.
Themes: “Remember” by Christina Rossetti
Mortality and the Inevitability of Death: The poem grapples with the inevitability of death, depicted as a journey to a “silent land” where the speaker will be “gone away.” The speaker’s awareness of mortality prompts a heartfelt plea to be remembered, underscoring the human desire to leave a lasting impact even after physical existence ceases. The phrase “When you can no more hold me by the hand” poignantly captures the finality of death and the separation it brings.
The Power and Importance of Memory: Memory emerges as a central theme, with the speaker repeatedly urging the addressee to “remember me.” Memory serves as a bridge between the living and the departed, allowing the speaker’s essence to persist in the thoughts and emotions of the bereaved. The lines “Only remember me; you understand / It will be late to counsel then or pray” highlight the urgency of remembrance, as it becomes the sole connection after death.
The Ambiguity of Grief and Remembrance: While remembrance is cherished, the poem also acknowledges the potential pain it can inflict. The speaker paradoxically wishes for the addressee to forget if remembering brings sorrow, expressing a selfless desire for their happiness. The lines “Better by far you should forget and smile / Than that you should remember and be sad” reveal a conflict between the longing for remembrance and the recognition that forgetting might be a kinder option.
Love and Loss: The poem is permeated with the underlying theme of love and the profound loss that accompanies death. The speaker’s plea to be remembered is rooted in a deep emotional connection with the addressee, evident in the intimate references to shared plans and conversations. The poem’s emotional resonance stems from the universal experience of love, loss, and the enduring power of memory to preserve the bonds that transcend physical separation.
Literary Theories and “Remember” by Christina Rossetti
Reader-Response Theory: This theory suggests that meaning in literature is created through the interaction between the text and the reader. In “Remember,” “Remember me when no more day by day” invites the reader to imagine the scenario of gradual absence and fading memory, prompting them to reflect on personal experiences of loss and remembrance. The poem’s power lies in how readers emotionally engage with its themes of separation and memory, influencing their interpretation based on their own memories and emotional responses. This theory underscores the poem’s effectiveness in evoking varied reader responses, ranging from nostalgia to contemplation of mortality, as each reader brings unique experiences to their interpretation.
Feminist Theory: Viewing the poem through a feminist lens, one can explore how Rossetti challenges traditional gender roles and constructs. “Nor I half turn to go yet turning stay” suggests a nuanced approach to departure, where the speaker exhibits agency in their farewell. The poem subverts expectations by prioritizing the speaker’s desire to be remembered on their terms, rather than conforming to societal expectations of female passivity. By asserting her agency in requesting remembrance despite absence, Rossetti’s speaker asserts a feminist perspective on memory and autonomy, challenging conventional notions of feminine vulnerability.
Psychoanalytic Theory (Freudian): This theory explores the poem’s themes through the lens of unconscious desires and fears. “Better by far you should forget and smile / Than that you should remember and be sad” reflects a psychological defense mechanism against the pain of loss. The speaker’s advice can be seen as a manifestation of unconscious guilt or fear of burdening the loved one with sadness after death. Freudian theory illuminates the complex emotions underlying the speaker’s plea, suggesting a subconscious struggle between the desire for remembrance and the fear of causing emotional distress, highlighting deeper psychological dimensions within the poem.
Critical Questions about “Remember” by Christina Rossetti
How does the poem explore the tension between memory and emotional detachment?
The line “Yet if you should forget me for a while / And afterwards remember, do not grieve” highlights this tension. It prompts reflection on whether forgetting is a form of emotional self-preservation or a betrayal of memory. The speaker’s plea suggests a nuanced approach to remembrance, advocating for a balance between honoring the past and embracing the present. This question invites readers to consider the complexities of memory—whether forgetting serves as a coping mechanism against grief or as a means to preserve emotional well-being.
In what ways does the poem challenge traditional notions of mourning and loss?
The lines “Better by far you should forget and smile / Than that you should remember and be sad” challenge conventional mourning practices. They suggest an unconventional approach where forgetting is seen as preferable to remembering with sorrow. This challenges the expectation that remembrance must always be accompanied by grief, proposing instead a path to emotional healing through selective memory. This question encourages exploration of how Rossetti redefines the relationship between memory and mourning, proposing a perspective that prioritizes emotional well-being over traditional expressions of grief.
How does the speaker negotiate agency and vulnerability in the act of remembrance?
The line “Only remember me; you understand” underscores the speaker’s agency in dictating the terms of remembrance. It raises questions about whether the speaker’s request for remembrance signifies vulnerability or empowerment. This negotiation of agency complicates traditional gender roles and societal expectations, suggesting that remembrance can be an act of strength and self-affirmation. By interrogating the dynamics of agency and vulnerability within remembrance, this question prompts a deeper examination of power dynamics and autonomy in the speaker’s plea.
What role does temporality play in shaping the poem’s thematic concerns?
The line “It will be late to counsel then or pray” highlights the poem’s preoccupation with the passage of time. It invites consideration of how temporality influences the speaker’s perspective on memory and separation. The poem’s temporal dimension underscores the urgency of remembrance and the inevitability of change, prompting readers to reflect on the fleeting nature of human connection and the lasting impact of memory. By examining how temporality shapes the poem’s thematic concerns, this question invites exploration of how time influences the speaker’s emotional landscape and the reader’s interpretation of loss and remembrance.
Literary Works Similar to Poem
“Do Not Go Gentle into That Good Night” by Dylan Thomas: Both poems grapple with the theme of mortality and the speaker’s plea for resistance against death’s embrace.
“Because I could not stop for Death” by Emily Dickinson: Both poems explore the concept of death as a journey and contemplate its implications for the living.
“When I Have Fears That I May Cease to Be” by John Keats: Both poems express the speaker’s anxieties about death and the desire to leave a lasting legacy through their work.
“Sonnet 18 (Shall I compare thee to a summer’s day?)” by William Shakespeare: Both poems use the sonnet form to explore themes of love, loss, and the enduring power of memory.
“Song: To Celia” by Ben Jonson: Both poems address a loved one and express the desire to be remembered after death.
Suggested Readings: “Remember” by Christina Rossetti
“Remains” by Simon Armitage, first published in 2008 in his acclaimed collection The Not Dead, possesses several notable qualities that contribute to its enduring impact.
Introduction: “Remains” by Simon Armitage
“Remains” by Simon Armitage, first published in 2008 in his acclaimed collection The Not Dead, possesses several notable qualities that contribute to its enduring impact. The poem is characterized by its raw and unflinching portrayal of trauma, utilizing vivid imagery and visceral language to convey the psychological turmoil experienced by the soldier narrator. Armitage employs a conversational tone and direct language, enhancing the poem’s accessibility and emotional resonance. The structure of the poem, with its irregular stanzas and enjambment, mirrors the fragmented nature of memory and the narrator’s struggle to process his experiences. Additionally, the poem’s exploration of guilt, remorse, and the lingering effects of violence serves as a powerful commentary on the psychological toll of war.
Text: “Remains” by Simon Armitage
On another occasion, we get sent out to tackle looters raiding a bank. And one of them legs it up the road, probably armed, possibly not.
Well myself and somebody else and somebody else are all of the same mind, so all three of us open fire. Three of a kind all letting fly, and I swear
I see every round as it rips through his life – I see broad daylight on the other side. So we’ve hit this looter a dozen times and he’s there on the ground, sort of inside out,
pain itself, the image of agony. One of my mates goes by and tosses his guts back into his body. Then he’s carted off in the back of a lorry.
End of story, except not really. His blood-shadow stays on the street, and out on patrol I walk right over it week after week. Then I’m home on leave. But I blink
and he bursts again through the doors of the bank. Sleep, and he’s probably armed, possibly not. Dream, and he’s torn apart by a dozen rounds. And the drink and the drugs won’t flush him out –
he’s here in my head when I close my eyes, dug in behind enemy lines, not left for dead in some distant, sun-stunned, sand-smothered land or six-feet-under in desert sand,
but near to the knuckle, here and now, his bloody life in my bloody hands.
The speaker describes being sent to confront looters at a bank. One of the looters runs away, and the speaker and two others open fire, possibly killing him.
Stanza 2
The speaker vividly recalls the moment of shooting, seeing each bullet hit the looter and the impact it has on his body.
Stanza 3
The looter is severely wounded (“inside out”) and in immense pain. One of the speaker’s comrades attempts to help by putting his intestines back into his body. The wounded man is then taken away in a truck.
Stanza 4
Despite the incident, the memory of the looter and the events haunt the speaker even after returning home (“on leave”). The memory replays in the speaker’s mind, disrupting his sleep and dreams.
Stanza 5
The speaker struggles with the traumatic memories, unable to escape them even with alcohol and drugs. The looter’s presence persists in the speaker’s thoughts, feeling like he is still fighting a battle.
Stanza 6
The poem ends with the speaker reflecting on the ongoing impact of the incident. The looter’s life and death weigh heavily on the speaker’s conscience, feeling responsible for his fate.
Literary and Poetic Devices in “Remains” by Simon Armitage
“So we’ve hit this looter a dozen times // and he’s there on the ground,”
A break or pause in the middle of a line of verse.
Creates a pause for reflection and emphasis on the brutal reality of the situation.
Themes in “Remains” by Simon Armitage
Trauma and Memory: The poem delves into the enduring psychological trauma of war and the power of memory to haunt and torment. The speaker’s relentless flashbacks (“But I blink / and he bursts again through the doors of the bank”) and nightmares (“Dream, and he’s torn apart by a dozen rounds”) highlight the intrusive nature of traumatic memories, refusing to be buried in the past. The vivid imagery of the victim’s body (“sort of inside out, pain itself, the image of agony”) further reinforces the trauma’s lasting impact, revealing how it continues to replay in the speaker’s mind.
Moral Responsibility and Guilt: “Remains” grapples with the moral complexities of killing and the burden of guilt. The repeated phrase “probably armed, possibly not” underscores the uncertainty surrounding the looter’s threat, casting doubt on the necessity of the lethal force used. The speaker’s act of tossing the victim’s “guts back into his body” could be interpreted as a futile attempt to undo the violence, while the lines “his bloody life in my bloody hands” highlight the indelible stain of guilt that the speaker carries.
The Psychological Cost of War: The poem explores the profound and lasting psychological damage inflicted on soldiers. The speaker’s reliance on “drink and drugs” to “flush him out” underscores the desperate measures taken to cope with the trauma. The recurring image of the “blood-shadow” serves as a metaphor for the invisible wounds of war, haunting the speaker and disrupting his attempts to return to normalcy.
Dehumanization and Objectification: The poem subtly addresses the dehumanization inherent in war. The looter is reduced to a target, referred to impersonally as “one of them” and “this looter.” The graphic description of his injuries and the casual way his body is treated (“carted off in the back of a lorry”) further illustrate the loss of individual identity and the objectification of the victim in the context of conflict.
Examines how the poem portrays the psychological impact of violence and war trauma on the speaker.
The poem vividly describes the traumatic experience of shooting a looter and the haunting memories that follow, impacting the speaker’s mental state (“his bloody life in my bloody hands”). The repetition of the looter’s presence in dreams and memories underscores the ongoing trauma experienced by the speaker.
Analyzes the power dynamics and moral implications of the encounter between the soldiers and the looters, possibly in a colonial context.
The poem can be read as a critique of military intervention and its consequences, reflecting on the blurred lines between right and wrong in conflicts (“probably armed, possibly not”). The aftermath of the shooting raises questions about justice and accountability in such situations.
Focuses on how readers interpret and emotionally engage with the text, particularly regarding themes of guilt and responsibility.
Readers may empathize with the speaker’s internal struggle and moral dilemma, contemplating the ethical implications of violence in war. The poem’s emotive language and vivid imagery invite readers to reflect on the human cost of conflict and the lasting impact on individuals involved.
Critical Questions about “Remains” by Simon Armitage
How does the poem’s use of language and imagery contribute to its exploration of trauma?
The visceral language and graphic imagery in “Remains,” such as “sort of inside out,” “pain itself,” and “rips through his life,” evoke a sense of horror and revulsion, mirroring the speaker’s traumatic experience. The repetition of “bloody” intensifies the violence and the lingering guilt, while the colloquial language (“legs it,” “guts”) creates a sense of immediacy and authenticity, drawing the reader into the soldier’s disturbed psyche. This raw and unfiltered language reflects the fragmented nature of memory and the difficulty of processing trauma.
To what extent is the poem a condemnation of war or a reflection on the psychological impact of conflict on soldiers?
While the poem doesn’t explicitly condemn war, it powerfully portrays the psychological toll exacted on those who participate in it. The speaker’s PTSD, his inability to escape the recurring memory of the shooting, and his attempts to self-medicate with “drink and drugs” underscore the devastating consequences of violence. However, the poem avoids didacticism, focusing instead on the individual soldier’s experience, leaving the reader to draw their own conclusions about the broader implications of war.
What is the significance of the “blood-shadow” motif in the poem?
The “blood-shadow” serves as a potent symbol of the enduring psychological trauma that haunts the speaker. It represents the guilt, remorse, and the indelible mark left by the act of killing. The shadow, which cannot be erased or escaped, reflects the inescapable nature of the soldier’s memories and the persistent presence of the victim in his mind. This motif also serves as a visual reminder of the moral complexity of the situation, as the speaker is forced to confront the consequences of his actions every time he encounters the shadow.
How does the poem’s structure and form contribute to its overall meaning?
The poem’s irregular stanzas and enjambment create a sense of fragmentation and disorientation, mirroring the speaker’s fractured psychological state. The volta, marked by the phrase “End of story, except not really,” signals a shift from the physical event to its enduring psychological aftermath. The final two lines, standing alone as a couplet, emphasize the speaker’s isolation and the inescapable nature of his guilt. This structure reflects the speaker’s struggle to make sense of his experience and the cyclical nature of trauma, highlighting the poem’s exploration of memory, guilt, and the psychological cost of war.
Thesis StatementTopics, Questions, and Thesis Statements about “Remains” by Simon Armitage
Topic
Question
Thesis Statement
1. Psychological Impact of Violence
How does the poem depict the psychological trauma experienced by soldiers involved in violent conflict?
In “Remains,” Simon Armitage vividly portrays the psychological toll of war on soldiers through the speaker’s haunting memories and guilt, revealing the lasting effects of violence on the human psyche.
2. Moral Ambiguity and Responsibility
What ethical questions does the poem raise about the use of force in conflict situations?
The poem “Remains” by Simon Armitage explores the moral ambiguity of violence in war, challenging readers to consider the consequences of military actions and the complex ethical dilemmas faced by soldiers in combat.
3. Memory and Trauma
How does the speaker’s memory of the shooting and its aftermath shape the poem’s narrative?
Through vivid imagery and introspective narration, “Remains” by Simon Armitage examines how traumatic memories persist and affect the speaker’s sense of identity, illustrating the enduring impact of violence on individual lives.
4. Critique of Military Intervention
To what extent does the poem critique the justification and consequences of military intervention?
Simon Armitage’s “Remains” critiques the justification and human cost of military intervention, highlighting the dehumanizing effects of violence and the ethical complexities involved in armed conflict.
1. “I see every round as it rips through his life – / I see broad daylight on the other side.”
This quotation describes the vivid imagery of the speaker witnessing the impact of bullets on the looter, highlighting the immediacy and brutality of violence.
Trauma Theory: Analyzes how the poem portrays the psychological impact of witnessing and participating in violent acts, emphasizing the traumatic experience of the speaker.
2. “His blood-shadow stays on the street, and out on patrol / I walk right over it week after week.”
The speaker reflects on the persistent presence of the looter’s blood-shadow on the street, symbolizing the lasting imprint of violence on memory and conscience.
Memory Studies: Explores how memories of traumatic events, such as the shooting, continue to affect the speaker, shaping his perception of the world and his sense of self.
3. “Then I’m home on leave. But I blink / and he bursts again through the doors of the bank.”
The speaker experiences intrusive memories and flashbacks of the shooting even when away from the battlefield, illustrating the inescapable nature of trauma.
Psychoanalytic Theory: Examines the subconscious processes and defense mechanisms at play in the speaker’s attempts to cope with traumatic memories, such as repression and recurrence in dreams.
4. “Dream, and he’s torn apart by a dozen rounds. / And the drink and the drugs won’t flush him out – / he’s here in my head when I close my eyes,”
The speaker struggles with the inability to escape the memory of the looter, despite using alcohol and drugs as coping mechanisms.
Cultural Studies: Analyzes how the poem critiques societal attitudes towards trauma and mental health, highlighting the inadequacy of conventional coping mechanisms in dealing with war-related trauma.
5. “His bloody life in my bloody hands.”
This line encapsulates the speaker’s sense of guilt and responsibility for taking the life of the looter, grappling with the moral consequences of his actions.
Ethical Criticism: Explores the ethical dilemmas faced by soldiers in combat situations, questioning the justification and accountability for violence in war.
“Homage to My Hips” by Lucille Clifton, first published in 1980 in the collection Two-Headed Woman, is a celebration of the female body.
Introduction: “Homage to My Hips” by Lucille Clifton
“Homage to My Hips” by Lucille Clifton, first published in 1980 in the collection Two-Headed Woman, is a celebration of the female body, particularly the hips, which are often seen as a symbol of sexuality and fertility. Clifton’s poem challenges traditional notions of beauty and desirability by embracing the natural curves and contours of the female form. The poem is characterized by its simple yet powerful language, its use of free verse, and its confident, assertive tone. “Homage to My Hips” is a feminist anthem that encourages women to love and accept their bodies, regardless of societal expectations.
Text: “Homage to My Hips” by Lucille Clifton
these hips are big hips
they need space to
move around in.
they don’t fit into little
petty places. these hips
are free hips.
they don’t like to be held back.
these hips have never been enslaved,
they go where they want to go
they do what they want to do.
these hips are mighty hips.
these hips are magic hips.
i have known them
to put a spell on a man and
spin him like a top!
Annotations: “Homage to My Hips” by Lucille Clifton
Speaking directly to an absent or imaginary person or a personified abstraction.
Engages the reader and creates a sense of intimacy and immediacy.
Themes: “Homage to My Hips” by Lucille Clifton
Body Positivity and Self-Acceptance: Clifton challenges conventional beauty standards by celebrating her “big hips.” She rejects the idea that women’s bodies should conform to narrow ideals, instead embracing her natural curves and the space they occupy. This theme is evident in lines like “they need space to move around in” and “they don’t fit into little petty places.” The poem encourages women to love and accept their bodies, regardless of societal pressures to conform.
Female Empowerment and Liberation: The poem is a powerful declaration of female autonomy and agency. Clifton’s hips are not passive objects but active subjects, “free hips” that “go where they want to go” and “do what they want to do.” This theme is reinforced by the line “these hips have never been enslaved,” suggesting a history of resistance and a refusal to be controlled. The poem empowers women to embrace their desires and express their sexuality freely.
The Power of Female Sexuality: Clifton’s hips are not just symbols of freedom but also of seduction and power. She describes them as “magic hips” that can “put a spell on a man and spin him like a top!” This highlights the allure and influence of female sexuality, challenging the idea that women are passive objects of male desire. The poem celebrates the power of women to attract and captivate, inverting traditional gender roles.
Reclaiming Black Female Identity: While not explicitly stated, the poem can be read as a celebration of Black female identity and beauty. By embracing her “big hips,” Clifton challenges the Eurocentric beauty standards that have historically marginalized and objectified Black women’s bodies. The poem can be seen as a reclamation of Black female sexuality and a celebration of its unique power and beauty. This theme is suggested by the poem’s confident tone and the speaker’s refusal to conform to external expectations.
Literary Theories and “Homage to My Hips” by Lucille Clifton
The poem embodies feminist ideals by celebrating female autonomy, challenging societal expectations, and reclaiming the female body as a source of power and beauty. It rejects patriarchal norms that seek to control and confine women’s bodies and sexuality.
“these hips are free hips…they go where they want to go…they do what they want to do.”
While empowering, the focus on the hips as a source of power may inadvertently reinforce the idea that women’s value is tied to their physical attributes and sexuality.
Black Feminist Theory
The poem can be interpreted as a celebration of Black female identity and beauty, challenging Eurocentric beauty standards and reclaiming Black female sexuality. It speaks to the unique experiences of Black women and their historical struggle for self-determination.
Implicitly through the speaker’s confident tone and refusal to conform to external expectations, as well as the celebration of “big hips,” a feature often associated with Black women’s bodies.
The poem empowers Black women but does not explicitly address the complexities of race and gender intersectionality, potentially limiting its full impact within the framework of Black feminist thought.
The poem invites diverse interpretations based on individual readers’ experiences and perspectives. Readers may connect with the themes of body positivity, female empowerment, or Black female identity in different ways, depending on their personal backgrounds and beliefs.
Open-ended lines like “these hips are magic hips” allow for multiple readings and interpretations based on individual experiences and cultural contexts.
While acknowledging reader agency, the theory neglects the author’s intended meaning and the socio-historical context in which the poem was written, potentially leading to misinterpretations.
Critical Questions about “Homage to My Hips” by Lucille Clifton
How does Clifton’s use of language and imagery contribute to the poem’s overall message of empowerment and self-acceptance?
The poem’s simple yet powerful language, combined with vivid imagery like “big hips,” “free hips,” and “magic hips,” creates a sense of pride and confidence. Clifton’s repetition of “these hips” reinforces the central focus on the body and its inherent power. The use of active verbs like “move,” “go,” and “do” further emphasizes the hips’ agency and autonomy. This linguistic and stylistic choice enhances the poem’s message of self-love and body positivity.
In what ways does the poem challenge or subvert traditional notions of female beauty and desirability?
By celebrating her “big hips,” Clifton directly challenges the societal ideal of a slim, petite female figure. She rejects the notion that women’s bodies should be confined or controlled, instead embracing the natural curves and contours of her own body. The poem’s assertive tone and the declaration that her hips are “free” and “mighty” further subvert traditional expectations of female passivity and deference.
How does the poem’s historical context, particularly the Civil Rights Movement and the rise of feminism, inform its themes of liberation and empowerment?
Written during a time of social and political upheaval, the poem resonates with the broader struggles for freedom and equality. The line “these hips have never been enslaved” can be interpreted as a reference to the history of slavery and the ongoing fight for racial justice. The poem’s celebration of female autonomy and sexuality aligns with the feminist movement’s push for women’s liberation.
To what extent can the poem be read as a celebration of Black female identity and beauty?
While not explicitly stated, the poem’s embrace of “big hips” can be seen as a challenge to Eurocentric beauty standards that have historically marginalized and objectified Black women’s bodies. The poem’s confident tone and the speaker’s refusal to conform to external expectations can be interpreted as a celebration of Black female self-love and a reclamation of Black female sexuality as powerful and beautiful. However, the poem’s lack of explicit reference to race leaves room for diverse interpretations and discussions about its implications for Black female identity.
Topics, Questions, and Thesis Statements about “Homage to My Hips” by Lucille Clifton
How does “Homage to My Hips” celebrate body positivity and empowerment?
In “Homage to My Hips,” Lucille Clifton celebrates body positivity and empowerment by portraying hips as symbols of strength and independence.
Feminine Identity and Freedom
What role do the hips play in expressing feminine identity and freedom in the poem?
The poem “Homage to My Hips” by Lucille Clifton uses the metaphor of hips to explore themes of feminine identity and freedom, highlighting the autonomy and power of women’s bodies.
Resistance to Oppression
How does Clifton’s poem address the theme of resistance to oppression?
“Homage to My Hips” by Lucille Clifton addresses the theme of resistance to oppression through the depiction of the hips as free, unbound, and resilient against historical and societal constraints.
Use of Literary Devices
What literary devices does Lucille Clifton employ to convey her message in “Homage to My Hips”?
In “Homage to My Hips,” Lucille Clifton employs various literary devices, including metaphor, personification, and repetition, to convey a powerful message of self-acceptance and liberation.
Literary Works Similar to “Homage to My Hips” by Lucille Clifton
“Phenomenal Woman” by Maya Angelou: This poem celebrates the unique strength and allure of women, emphasizing self-confidence and inner beauty.
“Still I Rise” by Maya Angelou: In this powerful poem, Angelou addresses themes of resilience and defiance in the face of oppression and adversity.
“Ain’t I a Woman?” by Sojourner Truth: This famous speech highlights the intersection of race and gender, asserting the strength and rights of Black women.
“Wild Geese” by Mary Oliver: Oliver’s poem encourages self-acceptance and embracing one’s place in the natural world, echoing themes of freedom and self-realization.
“You Bring Out the Mexican in Me” by Sandra Cisneros: This poem explores cultural identity and passion, celebrating the richness of heritage and personal strength.
Suggested Readings: “Homage to My Hips” by Lucille Clifton
“God’s Grandeur” by Gerard Manley Hopkins first appeared in 1918 in the collection Poems of Gerard Manley Hopkins.
Introduction: “God’s Grandeur” by Gerard Manley Hopkins
“God’s Grandeur” by Gerard Manley Hopkins first appeared in 1918 in the collection Poems of Gerard Manley Hopkins. This sonnet, written in 1877 but published posthumously, celebrates the majesty of God’s creation and laments humanity’s disregard for nature. The poem is characterized by Hopkins’ unique sprung rhythm, vivid imagery, and innovative use of language, creating a powerful and evocative meditation on the divine presence in the natural world. The poem’s central tension lies in the contrast between the enduring grandeur of God’s creation and the “generations” that have “trod, have trod, have trod” upon it, showcasing Hopkins’ concern for the environmental impact of human actions.
Text: “God’s Grandeur” by Gerard Manley Hopkins
The world is charged with the grandeur of God.
It will flame out, like shining from shook foil;
It gathers to a greatness, like the ooze of oil
Crushed. Why do men then now not reck his rod?
Generations have trod, have trod, have trod;
And all is seared with trade; bleared, smeared with toil;
And wears man’s smudge and shares man’s smell: the soil
Is bare now, nor can foot feel, being shod.
And for all this, nature is never spent;
There lives the dearest freshness deep down things;
And though the last lights off the black West went
Oh, morning, at the brown brink eastward, springs —
Because the Holy Ghost over the bent
World broods with warm breast and with ah! bright wings.
Annotations: “God’s Grandeur” by Gerard Manley Hopkins
The poem opens with a declaration of God’s overwhelming presence in the world. “Charged” implies energy and power.
It will flame out, like shining from shook foil;
This line compares the revelation of God’s grandeur to the sudden flash of light from shaken metal foil, suggesting its brilliant and transformative nature.
It gathers to a greatness, like the ooze of oil
God’s grandeur isn’t static but continuously gathers and accumulates, like the slow oozing of oil.
Crushed. Why do men then now not reck his rod?
The abrupt word “Crushed” introduces a shift in tone. It hints at Christ’s sacrifice and questions why humanity ignores God’s authority (“rod”).
Generations have trod, have trod, have trod;
The repetition emphasizes the relentless passage of time and the cumulative impact of human actions on the earth.
And all is seared with trade; bleared, smeared with toil;
These lines depict the destructive effects of industrialization (“trade”) and labor (“toil”) on nature, leaving it burnt (“seared”), blurry (“bleared”), and dirty (“smeared”).
And wears man’s smudge and shares man’s smell: the soil
The earth bears the marks of human activity and pollution, losing its purity and connection to the divine.
Is bare now, nor can foot feel, being shod.
The earth is depleted and desensitized; people, “shod” (wearing shoes), are disconnected from it.
And for all this, nature is never spent;
Despite the damage, the poem asserts that nature’s essence remains intact.
There lives the dearest freshness deep down things;
Beneath the surface, a vital energy (“dearest freshness”) persists, hinting at the possibility of renewal.
And though the last lights off the black West went
Even as darkness falls, there is hope.
Oh, morning, at the brown brink eastward, springs —
The dash emphasizes the sudden arrival of dawn, symbolizing renewal and resurrection.
Because the Holy Ghost over the bent
The Holy Spirit, a source of divine love and life, watches over…
World broods with warm breast and with ah! bright wings.
…the fallen world (“bent”) with nurturing warmth (“warm breast”) and the promise of spiritual illumination (“bright wings”).
Literary And Poetic Devices: “God’s Grandeur” by Gerard Manley Hopkins
The Omnipresence of God’s Grandeur: The poem opens with the resounding declaration that “The world is charged with the grandeur of God.” This establishes the central theme of the poem: the divine energy that permeates all of creation. The imagery of “shining from shook foil” and “ooze of oil Crushed” conveys the inexhaustible and overwhelming nature of God’s presence, which, like light or oil, cannot be contained or suppressed.
Humanity’s Disregard for the Divine in Nature: Hopkins juxtaposes the splendor of God’s creation with humanity’s destructive tendencies. The repetition of “trod, have trod, have trod” emphasizes the relentless human activity that has “seared with trade” and “smeared with toil” the natural world. This theme criticizes the industrial and materialistic pursuits that have led to the exploitation of nature, leaving it “bare” and disconnected from the divine.
The Resilience of Nature and the Hope of Renewal: Despite the damage inflicted by humans, the poem asserts that “nature is never spent.” This theme highlights the enduring power of the natural world, which retains a “dearest freshness deep down things.” The imagery of dawn breaking over the “black West” symbolizes the cyclical renewal of nature and the promise of spiritual rebirth. This theme offers a message of hope, suggesting that even in the face of destruction, the potential for restoration remains.
The Nurturing Presence of the Holy Spirit: The poem concludes with the image of the Holy Ghost brooding over the world with “warm breast and ah! bright wings.” This theme emphasizes the comforting and restorative presence of the Holy Spirit, which offers solace and guidance to a world marred by human actions. The Holy Spirit’s “bright wings” suggest the promise of spiritual illumination and the possibility of a return to divine harmony. This theme reinforces the idea that despite humanity’s failings, God’s love and grace remain ever-present, offering the potential for redemption and renewal.
Literary Theories and “God’s Grandeur” by Gerard Manley Hopkins
Literary Theory
References and Commentary in “God’s Grandeur”
Ecocriticism: This theory examines the relationship between literature and the environment.
– References: “And all is seared with trade; bleared, smeared with toil,” “the soil is bare now,” “dearest freshness deep down things.” Commentary: Hopkins laments the destructive impact of industrialization on the natural world, expressing concern for the exploitation and pollution of the earth. However, he also highlights the enduring resilience of nature and its potential for renewal.
New Criticism/Formalism: This theory focuses on the close reading of a text, emphasizing its formal elements like structure, imagery, and language.
– References: The sonnet form with its octave and sestet, sprung rhythm, alliteration (“bleared, smeared”), assonance (“ooze of oil”), metaphor (“shining from shook foil”). – Commentary: The poem’s tightly structured form and intricate use of language create a powerful and evocative experience for the reader. The sprung rhythm mimics natural speech patterns while also emphasizing key words and phrases, adding to the poem’s emotional impact.
Religious/Theological Criticism: This theory examines the religious or spiritual themes and references in a literary work.
– References: “God’s grandeur,” “reck his rod,” “Holy Ghost broods,” “warm breast and…bright wings.” – Commentary: Hopkins’ poem is deeply rooted in his Catholic faith. He uses religious imagery and language to express his awe at God’s majesty and his concern for humanity’s spiritual disconnect from the natural world. The poem’s final image of the Holy Spirit brooding over the world offers a message of hope and redemption.
Critical Questions about “God’s Grandeur” by Gerard Manley Hopkins
How does Hopkins use imagery to convey the theme of divine presence in nature?
Hopkins employs rich imagery throughout “God’s Grandeur” to vividly depict the omnipresence of God in the natural world. For instance, he describes nature as “charged with the grandeur of God,” suggesting an electrifying force imbued within all elements of creation. This imagery not only highlights the majestic and awe-inspiring aspects of nature but also underscores Hopkins’ belief in the pervasive influence of the divine. The lines “It will flame out, like shining from shook foil;” evoke a sense of brilliance and radiance, akin to the divine light illuminating every aspect of creation. Through such imagery, Hopkins invites readers to contemplate the spiritual essence inherent in even the smallest details of the natural world, reinforcing the poem’s central theme of God’s grandeur manifest in every corner of existence.
How does Hopkins critique human industrialization and its impact on nature in “God’s Grandeur”?
In “God’s Grandeur,” Hopkins critiques human industrialization by contrasting the timeless grandeur of nature with the detrimental effects of human exploitation. He laments how “all is seared with trade; bleared, smeared with toil,” portraying industrialization as a process that tarnishes and diminishes the natural world. The imagery of “man’s smudge” and “shares man’s smell” emphasizes the pollution and degradation caused by human activities. Hopkins suggests that industrialization not only despoils the physical landscape but also obscures humanity’s spiritual connection to God’s creation. This critique serves as a cautionary tale against the relentless pursuit of material gain at the expense of ecological harmony, urging readers to reconsider their impact on the environment and recognize the sacredness inherent in the natural world.
How does Hopkins reconcile the paradox between human exploitation of nature and nature’s inherent resilience and beauty in “God’s Grandeur”?
Hopkins addresses the paradox between human exploitation and nature’s resilience by emphasizing the enduring beauty and vitality of the natural world despite human interference. He acknowledges that “for all this, nature is never spent,” highlighting nature’s ability to regenerate and maintain its intrinsic freshness. This resilience is depicted through imagery such as “the dearest freshness deep down things,” suggesting a profound and enduring vitality that transcends human disruption. By juxtaposing images of human degradation with nature’s resilience, Hopkins suggests a harmonious coexistence between humanity and the natural world is possible if humans respect and appreciate the divine order inherent in creation.
What role does religious symbolism and allusion play in conveying the poem’s thematic depth in “God’s Grandeur”?
Religious symbolism and allusion play a pivotal role in enriching the thematic depth of “God’s Grandeur,” infusing the poem with spiritual significance and theological contemplation. Hopkins uses biblical references such as “reck his rod,” alluding to divine authority and judgment, to underscore the omnipotent presence of God in nature. The imagery of “brown brink eastward” invokes a sense of spiritual renewal and hope, symbolizing the dawn of redemption and restoration. These religious symbols not only enhance the poem’s aesthetic appeal but also invite readers to reflect on larger theological themes, such as divine providence, human stewardship, and the interconnectedness of all creation under God’s divine plan. Through such symbolism and allusion, Hopkins deepens the poem’s philosophical inquiry into the relationship between humanity, nature, and the transcendent spiritual realm.
Topics, Questions, and Thesis Statements about “God’s Grandeur” by Gerard Manley Hopkins
How does Hopkins depict nature’s resilience in the face of human exploitation?
In “God’s Grandeur,” Hopkins uses vivid imagery and metaphors to portray nature’s enduring beauty and resilience despite human degradation.
Divine presence and influence
How does Hopkins convey the presence and influence of God in the poem?
Hopkins’ use of religious imagery and metaphor in “God’s Grandeur” underscores the omnipresence and transformative power of God in the natural world.
Critique of industrialization
What critique does Hopkins offer on industrialization and its impact on nature?
Through contrasting images of natural grandeur and human degradation, Hopkins critiques industrialization in “God’s Grandeur,” highlighting its destructive effects on the environment.
Redemption and hope in nature
What role does nature play in offering redemption and hope in the poem?
“God’s Grandeur” portrays nature as a source of renewal and hope, symbolizing God’s ongoing presence and the potential for spiritual rejuvenation amidst human failings.
Literary Works Similar to “God’s Grandeur” by Gerard Manley Hopkins
“The Windhover” by Gerard Manley Hopkins: Both poems celebrate the divine energy present in nature, utilizing vivid imagery and sprung rhythm to evoke a sense of awe and wonder.
“Pied Beauty” by Gerard Manley Hopkins: Similar to “God’s Grandeur,” this poem praises the variety and intricacy of God’s creation, emphasizing the beauty found in unexpected and seemingly contradictory elements.
“The World Is Too Much With Us” by William Wordsworth: Both poems lament humanity’s disconnect from nature and the destructive impact of industrialization, while also expressing a yearning for a return to a more harmonious relationship with the natural world.
“Ode to a Nightingale” by John Keats: While not explicitly religious, Keats’ ode explores similar themes of transience, beauty, and the power of nature to inspire and console, utilizing rich sensory imagery and a melancholic tone.
“When I Consider How My Light is Spent” by John Milton: Both poems grapple with the tension between human limitations and divine power, expressing a sense of awe and reverence for the divine while also acknowledging the challenges of faith and mortality.
Suggested Readings: “God’s Grandeur” by Gerard Manley Hopkins
Opening line of the poem, setting the theme of the divine presence in nature.
Religious/Theological Criticism: Establishes the poem’s focus on the omnipresence and power of God in creation.
“It will flame out, like shining from shook foil”
Describes the sudden and intense revelation of God’s glory.
New Criticism/Formalism: The simile emphasizes the brilliance and transformative nature of this experience, highlighting Hopkins’ innovative use of language.
“Generations have trod, have trod, have trod; And all is seared with trade; bleared, smeared with toil”
Contrasts the enduring power of God’s creation with the destructive impact of human actions.
Ecocriticism: Highlights Hopkins’ concern for the environmental consequences of industrialization and human exploitation of nature.
“And for all this, nature is never spent; There lives the dearest freshness deep down things”
Affirms the resilience of nature and its capacity for renewal, even in the face of human destruction.
Ecocriticism: Offers a message of hope and emphasizes the enduring power of the natural world.
“Because the Holy Ghost over the bent World broods with warm breast and with ah! bright wings”
Concludes the poem with an image of the Holy Spirit nurturing and protecting the world.
Religious/Theological Criticism: Reinforces the theme of divine presence and love, offering a message of comfort and hope in the face of human failings.
“Ego Tripping (There May Be a Reason Why)” by Nikki Giovanni was first published in 1972 in her poetry collection My House.
Introduction: “Ego Tripping (There May Be a Reason Why)” by Nikki Giovanni
“Ego Tripping (There May Be a Reason Why)” by Nikki Giovanni was first published in 1972 in her poetry collection My House. The poem is a celebration of Black womanhood and African heritage, filled with bold declarations and a powerful sense of self. It is characterized by its rhythmic free verse, unusual capitalization, and vivid imagery, all of which contribute to the poem’s confident and empowering tone.
Text: “Ego Tripping (There May Be a Reason Why)” by Nikki Giovanni
I was born in the congo I walked to the fertile crescent and built the sphinx I designed a pyramid so tough that a star that only glows every one hundred years falls into the center giving divine perfect light I am bad
I sat on the throne drinking nectar with allah I got hot and sent an ice age to europe to cool my thirst My oldest daughter is nefertiti the tears from my birth pains created the nile I am a beautiful woman
I gazed on the forest and burned out the sahara desert with a packet of goat’s meat and a change of clothes I crossed it in two hours I am a gazelle so swift so swift you can’t catch me
For a birthday present when he was three I gave my son hannibal an elephant He gave me rome for mother’s day My strength flows ever on
My son noah built new/ark and I stood proudly at the helm as we sailed on a soft summer day I turned myself into myself and was jesus men intone my loving name All praises All praises I am the one who would save
I sowed diamonds in my back yard My bowels deliver uranium the filings from my fingernails are semi-precious jewels On a trip north I caught a cold and blew My nose giving oil to the arab world I am so hip even my errors are correct I sailed west to reach east and had to round off the earth as I went The hair from my head thinned and gold was laid across three continents
I am so perfect so divine so ethereal so surreal I cannot be comprehended except by my permission
I mean . . . I . . . can fly like a bird in the sky . . .
Annotations: “Ego Tripping (There May Be a Reason Why)” by Nikki Giovanni
I was born in the congo / I walked to the fertile crescent and built / the sphinx
Giovanni begins with a bold assertion of an African origin, associating herself with significant historical landmarks and ancient civilizations, establishing a sense of pride and grandeur.
2
I designed a pyramid so tough that a star / that only glows every one hundred years falls / into the center giving divine perfect light / I am bad
This stanza boasts about creating something so magnificent that it attracts divine light, further emphasizing the speaker’s extraordinary abilities and confidence.
3
I sat on the throne / drinking nectar with allah / I got hot and sent an ice age to europe / to cool my thirst
The speaker imagines themselves as a powerful deity, in control of natural phenomena and history, asserting dominance over the world.
4
My oldest daughter is nefertiti / the tears from my birth pains / created the nile / I am a beautiful woman
Giovanni aligns herself with Nefertiti, a symbol of beauty and power, and mythologically attributes the creation of the Nile to her own birth, linking femininity with creation and power.
5
I gazed on the forest and burned / out the sahara desert / with a packet of goat’s meat / and a change of clothes / I crossed it in two hours
This stanza combines myth and exaggeration, demonstrating the speaker’s ability to perform miraculous feats effortlessly, continuing the theme of extraordinary power.
6
I am a gazelle so swift / so swift you can’t catch me / For a birthday present when he was three / I gave my son hannibal an elephant / He gave me rome for mother’s day
The speaker likens herself to a gazelle, symbolizing agility and grace. The reference to Hannibal and Rome underscores the theme of historical impact and maternal pride in powerful offspring.
7
My strength flows ever on / My son noah built new/ark and / I stood proudly at the helm / as we sailed on a soft summer day
The speaker takes on the role of Noah’s mother, again connecting herself with pivotal biblical figures and stories, showing eternal strength and guidance.
8
I turned myself into myself and was / jesus / men intone my loving name / All praises All praises / I am the one who would save
The speaker equates herself with Jesus, a savior figure, emphasizing self-creation, divinity, and reverence, which reflects ultimate power and respect.
9
I sowed diamonds in my back yard / My bowels deliver uranium / the filings from my fingernails are / semi-precious jewels
Here, the speaker’s body produces precious materials, symbolizing inherent worth and value, and extending the theme of boundless capability and opulence.
10
On a trip north / I caught a cold and blew / My nose giving oil to the arab world
The speaker’s ordinary actions, like blowing her nose, result in extraordinary outcomes, such as providing oil, again emphasizing her omnipotence.
11
I am so hip even my errors are correct
This line exudes confidence and self-assuredness, indicating that the speaker’s uniqueness makes even her mistakes valuable.
12
I sailed west to reach east and had to round off / the earth as I went / The hair from my head thinned and gold was laid / across three continents
The speaker claims responsibility for shaping the world and spreading wealth, signifying transformative impact and benevolence.
13
I am so perfect so divine so ethereal so surreal / I cannot be comprehended / except by my permission
The speaker’s perfection and divinity are beyond human understanding, indicating a supreme and almost mystical self-awareness and power.
14
I mean . . . I . . . can fly / like a bird in the sky . . .
The final lines convey a sense of ultimate freedom and transcendence, wrapping up the poem with an image of limitless potential and liberation.
Literary And Poetic Devices: “Ego Tripping (There May Be a Reason Why)” by Nikki Giovanni
Comparison of two unlike things using “like” or “as.”
Conveys the speaker’s freedom, transcendence, and limitless potential.
Themes: “Ego Tripping (There May Be a Reason Why)” by Nikki Giovanni
Self-Empowerment and Black Womanhood: The poem boldly celebrates the power, creativity, and resilience of Black women. The speaker unapologetically claims responsibility for extraordinary feats – building the sphinx, creating the Nile, giving birth to impactful figures like Hannibal and Jesus – rejecting stereotypes and reclaiming historical narratives. This challenges traditional power structures and asserts a proud, self-assured identity. Example: “My oldest daughter is Nefertiti / the tears from my birth pains / created the Nile.”
Reclaiming History and Identity: Giovanni’s speaker rewrites history, inserting herself into pivotal moments and locations across the globe. She defies the erasure of Black contributions, weaving a tapestry that connects the Congo to ancient Egypt, Rome, and even the biblical story of Noah’s Ark. This reimagining empowers a marginalized identity, reclaiming agency and reshaping historical narratives. Example: “I was born in the congo / I walked to the fertile crescent and built / the sphinx.”
The Divine Feminine: The poem elevates the speaker to a divine status, blurring the lines between human and goddess. She claims to have sat with Allah, given birth to the Nile, and even embodied Jesus. This challenges patriarchal religious structures and celebrates the feminine as a source of power, creation, and salvation. Example: “I turned myself into myself and was / jesus / men intone my loving name.”
Pride in African Heritage: Throughout the poem, the speaker’s pride in her African roots shines through. She references the Congo, the Sahara, and gives her son Hannibal an elephant – symbols that evoke the richness and diversity of the African continent. This pride counters the historical devaluing of African culture and identity, celebrating its beauty and contributions. Example: “On a trip north / I caught a cold and blew / My nose giving oil to the arab world.”
Literary Theories and “Ego Tripping (There May Be a Reason Why)” by Nikki Giovanni
Literary Theory
Application to “Ego Tripping (There May Be a Reason Why)”
Afrofuturism combines African culture with futuristic themes and technology. In Giovanni’s poem, the speaker imagines herself with extraordinary powers and historical impact, blending past, present, and future.
Reference: “I designed a pyramid so tough that a star / that only glows every one hundred years falls / into the center giving divine perfect light” Comment: This envisioning of ancient achievements with a cosmic, futuristic twist exemplifies Afrofuturist themes of reimagining black identity and cultural significance.
The poem emphasizes female empowerment and challenges traditional gender roles by presenting the speaker as a powerful creator and historical figure.
Reference: “I sat on the throne / drinking nectar with Allah” Comment: Giovanni’s portrayal of a woman with divine power and historical influence challenges patriarchal narratives and asserts the importance of female agency and strength.
The poem addresses the reclamation of African heritage and history, presenting a narrative that counters colonial depictions of Africa and its people.
Reference: “I was born in the congo / I walked to the fertile crescent and built / the sphinx” Comment: By positioning the speaker at the center of major historical and cultural achievements, Giovanni reclaims African history and identity from colonial distortions and asserts a powerful, proud heritage.
Critical Questions about “Ego Tripping (There May Be a Reason Why)” by Nikki Giovanni
How does Giovanni use exaggeration and mythological elements to empower and celebrate African heritage in “Ego Tripping (There May Be a Reason Why)”?
iovanni employs hyperbole and mythological references throughout the poem to elevate African heritage and identity. For instance, claiming to have built the Sphinx and designed a pyramid that captures divine light amplifies the speaker’s prowess and cultural significance beyond realistic bounds. These exaggerated claims serve to reclaim and celebrate African achievements and history, counteracting historical marginalization and presenting a narrative of empowerment and pride.
In what ways does “Ego Tripping (There May Be a Reason Why)” challenge traditional gender roles and empower female agency?
The poem challenges traditional gender roles by presenting a female speaker with immense power and influence. References such as sitting on the throne and giving birth to historical figures like Nefertiti challenge the patriarchal narrative that marginalizes women’s contributions to history. By asserting agency over creation, history, and destiny, Giovanni’s poem celebrates female strength and resilience, offering a powerful assertion of feminine identity and capability.
How does “Ego Tripping (There May Be a Reason Why)” reflect themes of Afrocentrism and Afrofuturism?
“Ego Tripping (There May Be a Reason Why)” reflects Afrocentric and Afrofuturist themes by reimagining African identity and history through a lens of empowerment and futurism. The poem blends ancient African achievements with futuristic elements, such as traveling the world swiftly and shaping continents with ease. This fusion of past glory and future potential challenges Eurocentric narratives that have historically marginalized African cultures and peoples, offering a vision of African heritage as central to global history and progress.
What is the significance of the poem’s ending, where the speaker claims ultimate transcendence and liberation?
The poem concludes with the speaker declaring ultimate freedom and transcendence, symbolized by the ability to fly “like a bird in the sky.” This ending reinforces the theme of limitless potential and liberation from constraints, whether historical, cultural, or personal. By asserting the ability to transcend earthly boundaries and societal limitations, Giovanni’s poem suggests a vision of empowerment and self-affirmation that transcends individual identity to encompass broader themes of human capability and aspiration.
Topics, Questions, and Thesis Statements about “Ego Tripping (There May Be a Reason Why)” by Nikki Giovanni
How does Giovanni’s reimagining of history empower and re-center Black identity and experience?
In “Ego Tripping,” Nikki Giovanni’s revisionist approach to historical narratives serves as a powerful tool for reclaiming Black agency, rewriting a past that has often marginalized or erased Black contributions.
The Divine Feminine and Gender Dynamics
How does the poem challenge traditional patriarchal notions of power and divinity?
By elevating the female speaker to a divine status, Giovanni subverts patriarchal norms, presenting a powerful vision of feminine creativity, agency, and spiritual authority.
The Use of Hyperbole and Exaggeration
What role does hyperbole play in conveying the speaker’s grandiosity and self-assuredness?
The exaggerated claims in “Ego Tripping” are not merely boasts; they are a strategic tool for asserting self-worth, reclaiming agency, and challenging societal expectations imposed on Black women.
Black Pride and Cultural Celebration
How does the poem celebrate and elevate African heritage and cultural identity?
Through references to specific locations, figures, and natural resources, “Ego Tripping” champions Black pride, reclaiming a cultural heritage that has often been devalued or overlooked in dominant narratives.
Literary Works Similar to “Ego Tripping (There May Be a Reason Why)” by Nikki Giovanni
“I, Too” by Langston Hughes: The speaker proclaims their belonging to America, refusing to be relegated to the sidelines and asserting their right to be recognized.
“Lady Lazarus” by Sylvia Plath: The speaker defiantly proclaims her survival and power, rising from the ashes like a mythical phoenix.
“The Love Song of J. Alfred Prufrock” by T.S. Eliot: While filled with self-doubt, Prufrock’s inner monologue reveals a yearning for self-expression and a desire to break free from societal constraints.
“Song of Myself” by Walt Whitman: This expansive poem celebrates the individual self as part of a larger, interconnected universe, asserting the beauty and importance of every human experience.
“Ozymandias” by Percy Bysshe Shelley: Though focused on a fallen tyrant, the poem’s theme resonates with the idea of asserting one’s power and leaving a mark on the world.
Suggested Readings: “Ego Tripping (There May Be a Reason Why)” by Nikki Giovanni
“I was born in the congo / I walked to the fertile crescent and built / the sphinx”
The speaker begins by asserting a grand origin and claiming monumental achievements in ancient civilizations, establishing a mythological and historical context.
Postcolonial Theory: This quotation challenges colonial narratives by reasserting African agency and heritage, reclaiming historical identities distorted by colonialism.
“I sat on the throne / drinking nectar with allah”
Here, the speaker places herself in a position of divine or royal authority, sharing a moment of communion with a deity, symbolizing power and reverence.
Feminist Theory: This assertion challenges patriarchal norms by presenting a woman in a traditionally male-dominated role, asserting female empowerment and spiritual leadership.
“My oldest daughter is nefertiti / the tears from my birth pains / created the nile”
The speaker mythologizes her maternal role by attributing the creation of geographical features to her childbirth, intertwining personal history with ancient mythology.
Afrofuturism: This quotation blends futuristic themes with historical reclamation, imagining an alternate reality where African heritage shapes natural landscapes and histories.
“I am so perfect so divine so ethereal so surreal / I cannot be comprehended / except by my permission”
The speaker asserts divine-like qualities and inscrutability, claiming ultimate authority over her own narrative and perception.
Psychoanalytic Theory: This quotation explores themes of self-identity and empowerment, suggesting a psychological assertion of self-worth and autonomy.
“I mean . . . I . . . can fly / like a bird in the sky . . .”
The poem concludes with a declaration of freedom and transcendence, symbolized by the ability to fly, suggesting limitless potential and liberation.
Critical Race Theory: This ending challenges racial stereotypes and limitations by envisioning boundless freedom and capability, asserting an expansive view of African identity and potential.
