Introduction: “The Eve of St. Agnes” by John Keats
“The Eve of St. Agnes” by John Keats first appeared in 1820 in the collection Lamia, Isabella, The Eve of St. Agnes, and Other Poems. The narrative poem is celebrated for its lush, sensuous imagery and exploration of themes like forbidden love, youthful passion, and the tension between idealism and reality. Set on the feast night of St. Agnes, the poem intertwines the romantic and the mystical, centering on the love between Madeline and Porphyro amidst the backdrop of a feuding family. Its vivid descriptions, medieval setting, and mastery of the Spenserian stanza make it a staple of Romantic poetry. Its popularity as a textbook poem stems from its rich symbolism, narrative sophistication, and its encapsulation of Romantic ideals, making it a fertile ground for literary analysis and interpretation.
Text and Annotations of “The Eve of St. Agnes” by John Keats
Stanza 1
St. Agnes’ Eve—Ah, bitter chill it was!
The owl, for all his feathers, was a-cold;
The hare limp’d trembling through the frozen grass,
And silent was the flock in woolly fold:
Numb were the Beadsman’s fingers, while he told
His rosary, and while his frosted breath,
Like pious incense from a censer old,
Seem’d taking flight for heaven, without a death,
Past the sweet Virgin’s picture, while his prayer he saith.
Annotation:
The opening stanza sets a chilling, bleak tone, underscoring the harshness of winter on St. Agnes’ Eve. The natural imagery—”owl,” “hare,” and “frozen grass”—emphasizes the biting cold. The Beadsman’s devout prayer, visualized as “pious incense,” contrasts with the physical suffering of his “numb fingers” and frosted breath. This juxtaposition highlights the dedication required for spiritual acts, despite mortal frailty.
Stanza 2
His prayer he saith, this patient, holy man;
Then takes his lamp, and riseth from his knees,
And back returneth, meagre, barefoot, wan,
Along the chapel aisle by slow degrees:
The sculptur’d dead, on each side, seem to freeze,
Emprison’d in black, purgatorial rails:
Knights, ladies, praying in dumb orat’ries,
He passeth by; and his weak spirit fails
To think how they may ache in icy hoods and mails.
Annotation:
The Beadsman’s frailty is further emphasized as he rises weakly, “meagre, barefoot, wan.” The gothic imagery of the “sculptur’d dead” encased in “purgatorial rails” lends a ghostly air to the chapel. This imagery reflects the spiritual liminality of the setting, where the living and dead intersect. The Beadsman empathizes with the frozen knights and ladies, imagining their eternal discomfort, which mirrors his own physical suffering.
Stanza 3
Northward he turneth through a little door,
And scarce three steps, ere Music’s golden tongue
Flatter’d to tears this aged man and poor;
But no—already had his deathbell rung;
The joys of all his life were said and sung:
His was harsh penance on St. Agnes’ Eve:
Another way he went, and soon among
Rough ashes sat he for his soul’s reprieve,
And all night kept awake, for sinners’ sake to grieve.
Annotation:
The Beadsman moves away from the warmth of the chapel into the desolation of his harsh penance. His isolation contrasts with the “Music’s golden tongue,” representing the revelry of the wealthy. The “deathbell” signals the imminence of his mortality, highlighting the futility of earthly pleasures for him. His devotion is profound, choosing asceticism and grief for sinners over comfort, reflecting themes of sacrifice and redemption.
Stanza 4
That ancient Beadsman heard the prelude soft;
And so it chanc’d, for many a door was wide,
From hurry to and fro. Soon, up aloft,
The silver, snarling trumpets ‘gan to chide:
The level chambers, ready with their pride,
Were glowing to receive a thousand guests:
The carved angels, ever eager-eyed,
Star’d, where upon their heads the cornice rests,
With hair blown back, and wings put cross-wise on their breasts.
Annotation:
The scene shifts from the Beadsman’s somber prayer to the lively and opulent feast. The imagery of “silver, snarling trumpets” and glowing chambers conveys the lavishness and chaos of the preparations. The carved angels, depicted as “eager-eyed,” seem to judge the extravagance of human pride, adding an air of subtle critique to the excesses of the revelry.
Stanza 5
At length burst in the argent revelry,
With plume, tiara, and all rich array,
Numerous as shadows haunting faerily
The brain, new stuff’d, in youth, with triumphs gay
Of old romance. These let us wish away,
And turn, sole-thoughted, to one Lady there,
Whose heart had brooded, all that wintry day,
On love, and wing’d St. Agnes’ saintly care,
As she had heard old dames full many times declare.
Annotation:
The opulent “argent revelry” embodies the spirit of youthful indulgence. However, Keats redirects the focus to Madeline, whose romantic and spiritual musings set her apart from the worldly crowd. Her thoughts of love and devotion to St. Agnes’ Eve rituals emphasize her purity and idealism, aligning her with themes of divine inspiration and romantic yearning.
Stanza 6
They told her how, upon St. Agnes’ Eve,
Young virgins might have visions of delight,
And soft adorings from their loves receive
Upon the honey’d middle of the night,
If ceremonies due they did aright;
As, supperless to bed they must retire,
And couch supine their beauties, lily white;
Nor look behind, nor sideways, but require
Of Heaven with upward eyes for all that they desire.
Annotation:
The superstition surrounding St. Agnes’ Eve is laid out, where young virgins can glimpse their future lovers in dreams. The prescribed rituals of fasting, purity, and unwavering faith in Heaven symbolize both spiritual devotion and romantic idealism. Madeline’s adherence to these rites underscores her innocence and trust in divine providence.
Stanza 7
Full of this whim was thoughtful Madeline:
The music, yearning like a God in pain,
She scarcely heard: her maiden eyes divine,
Fix’d on the floor, saw many a sweeping train
Pass by—she heeded not at all: in vain
Came many a tiptoe, amorous cavalier,
And back retir’d; not cool’d by high disdain,
But she saw not: her heart was otherwhere:
She sigh’d for Agnes’ dreams, the sweetest of the year.
Annotation:
Madeline’s absorption in her romantic fantasy renders her oblivious to the lively banquet. The “amorous cavalier” represents worldly love, but Madeline’s focus is on the transcendental love promised by St. Agnes’ Eve. The “yearning like a God in pain” in the music reflects her inner turmoil and longing, foreshadowing the dreamlike events to follow.
Stanza 8
She danc’d along with vague, regardless eyes,
Anxious her lips, her breathing quick and short:
The hallow’d hour was near at hand: she sighs
Amid the timbrels, and the throng’d resort
Of whisperers in anger, or in sport;
‘Mid looks of love, defiance, hate, and scorn,
Hoodwink’d with faery fancy; all amort,
Save to St. Agnes and her lambs unshorn,
And all the bliss to be before to-morrow morn.
Annotation:
Madeline’s anticipation crescendos as the ritual hour approaches. Her “vague, regardless eyes” and “quick” breathing reflect her nervous yet resolute focus. She is detached from the surrounding crowd’s chaotic emotions—love, hate, scorn—fixated instead on her spiritual aspirations. The reference to “lambs unshorn” emphasizes her innocence and the purity of her desires, contrasting with the worldliness of the banquet.
Stanza 9
So, purposing each moment to retire,
She linger’d still. Meantime, across the moors,
Had come young Porphyro, with heart on fire
For Madeline. Beside the portal doors,
Buttress’d from moonlight, stands he, and implores
All saints to give him sight of Madeline,
But for one moment in the tedious hours,
That he might gaze and worship all unseen;
Perchance speak, kneel, touch, kiss—in sooth such things have been.
Annotation:
Porphyro is introduced as a romantic figure driven by passionate devotion to Madeline. His “heart on fire” signals his fervent emotions, and his prayer to saints aligns with the spiritual undertones of the poem. His longing to “gaze and worship” suggests a blend of reverence and earthly love, creating tension between divine ideals and mortal desires.
Stanza 10
He ventures in: let no buzz’d whisper tell:
All eyes be muffled, or a hundred swords
Will storm his heart, Love’s fev’rous citadel:
For him, those chambers held barbarian hordes,
Hyena foemen, and hot-blooded lords,
Whose very dogs would execrations howl
Against his lineage: not one breast affords
Him any mercy, in that mansion foul,
Save one old beldame, weak in body and in soul.
Annotation:
Porphyro’s intrusion into the hostile mansion is fraught with danger, as he perceives its occupants as “barbarian hordes” and “hyena foemen.” These hyperbolic descriptions emphasize his isolation and vulnerability. The “beldame,” Angela, becomes his only ally, underscoring themes of loyalty and the interplay of morality within an otherwise hostile setting.
Stanza 11
Ah, happy chance! the aged creature came,
Shuffling along with ivory-headed wand,
To where he stood, hid from the torch’s flame,
Behind a broad half-pillar, far beyond
The sound of merriment and chorus bland:
He startled her; but soon she knew his face,
And grasp’d his fingers in her palsied hand,
Saying, “Mercy, Porphyro! hie thee from this place;
They are all here to-night, the whole blood-thirsty race!”
Annotation:
Angela recognizes Porphyro and expresses her alarm at his presence in the mansion. Her “palsied hand” and “ivory-headed wand” reflect her frailty, contrasting with the fervor of Porphyro’s love. Her warning about the “blood-thirsty race” heightens the suspense and the stakes, portraying the mansion as a dangerous, almost mythic place of peril.
Stanza 12
“Get hence! get hence! there’s dwarfish Hildebrand;
He had a fever late, and in the fit
He cursed thee and thine, both house and land:
Then there’s that old Lord Maurice, not a whit
More tame for his gray hairs—Alas me! flit!
Flit like a ghost away.”—”Ah, Gossip dear,
We’re safe enough; here in this arm-chair sit,
And tell me how”—”Good Saints! not here, not here;
Follow me, child, or else these stones will be thy bier.”
Annotation:
Angela’s dire warnings about the mansion’s inhabitants emphasize the real danger Porphyro faces. Her references to Hildebrand and Lord Maurice portray the household as vengeful and unrelenting. Porphyro’s reassurance contrasts with her panic, demonstrating his determination to remain despite the risks. The urgency in Angela’s plea adds a sense of immediacy to the narrative.
Stanza 13
He follow’d through a lowly arched way,
Brushing the cobwebs with his lofty plume,
And as she mutter’d “Well-a—well-a-day!”
He found him in a little moonlight room,
Pale, lattic’d, chill, and silent as a tomb.
“Now tell me where is Madeline,” said he,
“O tell me, Angela, by the holy loom
Which none but secret sisterhood may see,
When they St. Agnes’ wool are weaving piously.”
Annotation:
Angela leads Porphyro to a secluded, moonlit room described as “silent as a tomb.” This gothic imagery reinforces the poem’s themes of secrecy and foreboding. Porphyro’s invocation of “the holy loom” connects the scene to the spiritual rituals of St. Agnes’ Eve, emphasizing his belief in the sanctity of his love for Madeline.
Stanza 14
“St. Agnes! Ah! it is St. Agnes’ Eve—
Yet men will murder upon holy days:
Thou must hold water in a witch’s sieve,
And be liege-lord of all the Elves and Fays,
To venture so: it fills me with amaze
To see thee, Porphyro!—St. Agnes’ Eve!
God’s help! my lady fair the conjuror plays
This very night: good angels her deceive!
But let me laugh awhile, I’ve mickle time to grieve.”
Annotation:
Angela expresses her disbelief at Porphyro’s audacity to intrude on such a sacred night. Her mention of “witch’s sieve” and “Elves and Fays” blends the supernatural with Christian ritual, reflecting the mystical tension of the poem. Her ironic laughter conveys both her helplessness and the absurdity of the situation.
Stanza 15
Feebly she laugheth in the languid moon,
While Porphyro upon her face doth look,
Like puzzled urchin on an aged crone
Who keepeth clos’d a wond’rous riddle-book,
As spectacled she sits in chimney nook.
But soon his eyes grew brilliant, when she told
His lady’s purpose; and he scarce could brook
Tears, at the thought of those enchantments cold,
And Madeline asleep in lap of legends old.
Annotation:
Angela’s feeble laughter contrasts with Porphyro’s intense emotions. Her description of Madeline as being “asleep in lap of legends old” underscores her innocence and connection to timeless traditions. Porphyro’s tearful reaction highlights the depth of his love and the spiritual weight he attributes to the moment.
Stanza 16
Sudden a thought came like a full-blown rose,
Flushing his brow, and in his pained heart
Made purple riot: then doth he propose
A stratagem, that makes the beldame start:
“A cruel man and impious thou art:
Sweet lady, let her pray, and sleep, and dream
Alone with her good angels, far apart
From wicked men like thee. Go, go!—I deem
Thou canst not surely be the same that thou didst seem.”
Annotation:
Porphyro devises a bold plan to stay hidden in Madeline’s room. The metaphor of the “full-blown rose” captures the suddenness and intensity of his idea. Angela’s reaction reveals her moral conflict—she views Porphyro’s intent as selfish and intrusive, threatening Madeline’s innocence. Her reproach highlights the tension between Porphyro’s passionate love and Angela’s protective instincts.
Stanza 17
“I will not harm her, by all saints I swear,”
Quoth Porphyro: “O may I ne’er find grace
When my weak voice shall whisper its last prayer,
If one of her soft ringlets I displace,
Or look with ruffian passion in her face:
Good Angela, believe me by these tears;
Or I will, even in a moment’s space,
Awake, with horrid shout, my foemen’s ears,
And beard them, though they be more fang’d than wolves and bears.”
Annotation:
Porphyro passionately defends his intentions, invoking saints and swearing an oath of respect for Madeline. His appeal to Angela is deeply emotional, underscored by his tears and dramatic resolve to confront his enemies if necessary. This moment emphasizes his reverence for Madeline, presenting him as a figure of romantic idealism, albeit one driven by overwhelming desire.
Stanza 18
“Ah! why wilt thou affright a feeble soul?
A poor, weak, palsy-stricken, churchyard thing,
Whose passing-bell may ere the midnight toll;
Whose prayers for thee, each morn and evening,
Were never miss’d.”—Thus plaining, doth she bring
A gentler speech from burning Porphyro;
So woful, and of such deep sorrowing,
That Angela gives promise she will do
Whatever he shall wish, betide her weal or woe.
Annotation:
Angela’s lamentation underscores her vulnerability and reluctance. Her characterization as a “churchyard thing” reinforces her frailty and closeness to death. However, Porphyro’s sorrowful and earnest appeals sway her, leading her to agree to his risky plan. The stanza captures Angela’s internal conflict and foreshadows the moral ambiguities of her decision.
Stanza 19
Which was, to lead him, in close secrecy,
Even to Madeline’s chamber, and there hide
Him in a closet, of such privacy
That he might see her beauty unespy’d,
And win perhaps that night a peerless bride,
While legion’d faeries pac’d the coverlet,
And pale enchantment held her sleepy-ey’d.
Never on such a night have lovers met,
Since Merlin paid his Demon all the monstrous debt.
Annotation:
Angela agrees to smuggle Porphyro into Madeline’s chamber. The plan is fraught with secrecy and tension, emphasizing the stakes of their endeavor. The imagery of “legion’d faeries” and “pale enchantment” reinforces the poem’s dreamlike atmosphere, merging the mystical and romantic. The reference to Merlin’s demon introduces an ominous note, suggesting that such passionate encounters often have a price.
Stanza 20
“It shall be as thou wishest,” said the Dame:
“All cates and dainties shall be stored there
Quickly on this feast-night: by the tambour frame
Her own lute thou wilt see: no time to spare,
For I am slow and feeble, and scarce dare
On such a catering trust my dizzy head.
Wait here, my child, with patience; kneel in prayer
The while: Ah! thou must needs the lady wed,
Or may I never leave my grave among the dead.”
Annotation:
Angela’s reluctant acquiescence is laced with her apprehension and a sense of inevitability. She offers practical details about Madeline’s room while insisting on Porphyro’s sincerity by urging him to wed Madeline. Her parting words highlight her fear of betrayal and her desire to protect Madeline’s honor, underscoring the moral tension in their scheme.
Stanza 21
So saying, she hobbled off with busy fear.
The lover’s endless minutes slowly pass’d;
The dame return’d, and whisper’d in his ear
To follow her; with aged eyes aghast
From fright of dim espial. Safe at last,
Through many a dusky gallery, they gain
The maiden’s chamber, silken, hush’d, and chaste;
Where Porphyro took covert, pleas’d amain.
His poor guide hurried back with agues in her brain.
Annotation:
Angela leads Porphyro to Madeline’s chamber through the shadowy, labyrinthine mansion, intensifying the gothic atmosphere. The “silken, hush’d, and chaste” room symbolizes Madeline’s purity and contrasts with Porphyro’s passionate intent. Angela’s departure, marked by her “agues in her brain,” reflects her physical and emotional toll, leaving Porphyro to face his moment of truth alone.
Stanza 22
Her falt’ring hand upon the balustrade,
Old Angela was feeling for the stair,
When Madeline, St. Agnes’ charmed maid,
Rose, like a mission’d spirit, unaware:
With silver taper’s light, and pious care,
She turn’d, and down the aged gossip led
To a safe level matting. Now prepare,
Young Porphyro, for gazing on that bed;
She comes, she comes again, like ring-dove fray’d and fled.
Annotation:
Madeline’s appearance is ethereal and almost otherworldly, aligning her with divine purity. She is described as a “mission’d spirit,” reflecting her ritualistic devotion. The “silver taper’s light” and her gentle care for Angela reinforce her angelic imagery. This stanza builds anticipation as Madeline unwittingly sets the stage for her encounter with Porphyro.
Stanza 23
Out went the taper as she hurried in;
Its little smoke, in pallid moonshine, died:
She clos’d the door, she panted, all akin
To spirits of the air, and visions wide:
No uttered syllable, or, woe betide!
But to her heart, her heart was voluble,
Paining with eloquence her balmy side;
As though a tongueless nightingale should swell
Her throat in vain, and die, heart-stifled, in her dell.
Annotation:
Madeline enters her chamber in a dreamlike state, extinguishing the “taper” and immersing herself in darkness. Her silent yet expressive emotions, described as a “tongueless nightingale,” convey her vulnerability and longing. The stanza captures the tension between her spiritual innocence and the awakening passion she unknowingly embodies.
Stanza 24
A casement high and triple-arch’d there was,
All garlanded with carven imag’ries
Of fruits, and flowers, and bunches of knot-grass,
And diamonded with panes of quaint device,
Innumerable of stains and splendid dyes,
As are the tiger-moth’s deep-damask’d wings;
And in the midst, ‘mong thousand heraldries,
And twilight saints, and dim emblazonings,
A shielded scutcheon blush’d with blood of queens and kings.
Annotation:
This stanza paints a vivid picture of Madeline’s chamber, particularly the elaborate casement window. The “triple-arch’d” design, adorned with carvings and stained glass, evokes a sense of opulence and reverence. The comparison to a tiger-moth’s wings emphasizes the intricate and colorful artistry, while the “shielded scutcheon” connects the setting to themes of heritage, lineage, and aristocracy. The window’s imagery also reflects the blending of the natural and the sacred.
Stanza 25
Full on this casement shone the wintry moon,
And threw warm gules on Madeline’s fair breast,
As down she knelt for heaven’s grace and boon;
Rose-bloom fell on her hands, together prest,
And on her silver cross soft amethyst,
And on her hair a glory, like a saint:
She seem’d a splendid angel, newly drest,
Save wings, for heaven:—Porphyro grew faint:
She knelt, so pure a thing, so free from mortal taint.
Annotation:
The moonlight streaming through the casement bathes Madeline in a heavenly glow, emphasizing her purity and sanctity. Keats likens her to a “splendid angel,” further associating her with divine imagery. Porphyro’s reaction—growing faint—underscores the overwhelming reverence and desire he feels. This stanza reinforces the tension between Madeline’s spiritual devotion and Porphyro’s earthly passion.
Stanza 26
Anon his heart revives: her vespers done,
Of all its wreathed pearls her hair she frees;
Unclasps her warmed jewels one by one;
Loosens her fragrant bodice; by degrees
Her rich attire creeps rustling to her knees:
Half-hidden, like a mermaid in sea-weed,
Pensive awhile she dreams awake, and sees,
In fancy, fair St. Agnes in her bed,
But dares not look behind, or all the charm is fled.
Annotation:
As Madeline prepares for bed, the sensual imagery of her undressing contrasts with the spiritual tone of the earlier stanzas. Her “rich attire” and “fragrant bodice” symbolize her mortal beauty, while her dreamy state aligns her with the mystical rituals of St. Agnes’ Eve. The comparison to a “mermaid in sea-weed” evokes her vulnerability and otherworldly allure. The superstition that looking behind will break the spell heightens the suspense and her faith in the ritual.
Stanza 27
Soon, trembling in her soft and chilly nest,
In sort of wakeful swoon, perplex’d she lay,
Until the poppied warmth of sleep oppress’d
Her soothed limbs, and soul fatigued away;
Flown, like a thought, until the morrow-day;
Blissfully haven’d both from joy and pain;
Clasp’d like a missal where swart Paynims pray;
Blinded alike from sunshine and from rain,
As though a rose should shut, and be a bud again.
Annotation:
Madeline drifts into a dreamlike sleep, her vulnerability symbolized by the “soft and chilly nest.” The “poppied warmth” suggests a hypnotic, almost narcotic state, reflective of her surrender to the ritual’s magic. The simile of being “clasp’d like a missal” emphasizes her purity and devotion, while the rose imagery evokes both her beauty and innocence, poised on the brink of transformation.
Stanza 28
Stol’n to this paradise, and so entranced,
Porphyro gaz’d upon her empty dress,
And listen’d to her breathing, if it chanced
To wake into a slumberous tenderness;
Which when he heard, that minute did he bless,
And breath’d himself: then from the closet crept,
Noiseless as fear in a wide wilderness,
And over the hush’d carpet, silent, stept,
And ‘tween the curtains peep’d, where, lo!—how fast she slept.
Annotation:
Porphyro, now in Madeline’s room, watches her with a mix of reverence and yearning. The description of her “empty dress” emphasizes her vulnerability and the intimacy of the moment. His movements are “noiseless as fear,” reflecting both his caution and the tension of his intrusion. The juxtaposition of his quiet adoration with the potential danger highlights the fragility of the scene.
Stanza 29
Then by the bed-side, where the faded moon
Made a dim, silver twilight, soft he set
A table, and, half anguish’d, threw thereon
A cloth of woven crimson, gold, and jet:—
O for some drowsy Morphean amulet!
The boisterous, midnight, festive clarion,
The kettle-drum, and far-heard clarinet,
Affray his ears, though but in dying tone:—
The hall door shuts again, and all the noise is gone.
Annotation:
Porphyro prepares a feast for Madeline, creating an intimate, almost ceremonial atmosphere. The “woven crimson, gold, and jet” reflects both luxury and passion. His wish for a “Morphean amulet” underscores his desire to preserve the dreamlike peace of the moment. The fading noise of the revelry outside contrasts with the quiet intensity of their encounter, isolating them in their private world.
Stanza 30
And still she slept an azure-lidded sleep,
In blanched linen, smooth, and lavender’d,
While he forth from the closet brought a heap
Of candied apple, quince, and plum, and gourd;
With jellies soother than the creamy curd,
And lucent syrups, tinct with cinnamon;
Manna and dates, in argosy transferr’d
From Fez; and spiced dainties, every one,
From silken Samarcand to cedar’d Lebanon.
Annotation:
Madeline’s serene slumber contrasts with Porphyro’s bustling activity as he lays out an extravagant feast. The detailed description of the delicacies—”candied apple,” “lucent syrups,” “dates”—evokes sensory richness and exoticism. The imagery of “Fez” and “Samarcand” imbues the scene with a sense of fantasy and enchantment, emphasizing the surreal nature of their union.
Stanza 31
These delicates he heap’d with glowing hand
On golden dishes and in baskets bright
Of wreathed silver: sumptuous they stand
In the retired quiet of the night,
Filling the chilly room with perfume light.—
“And now, my love, my seraph fair, awake!
Thou art my heaven, and I thine eremite:
Open thine eyes, for meek St. Agnes’ sake,
Or I shall drowse beside thee, so my soul doth ache.”
Annotation:
Porphyro’s actions take on a devotional quality as he addresses Madeline as his “seraph fair,” likening her to a celestial being. His plea for her to awaken captures both his deep longing and the spiritual intensity of the moment. The “retired quiet” of the room contrasts with his internal turmoil, as he teeters between reverence and desire.
Stanza 32
Thus whispering, his warm, unnerved arm
Sank in her pillow. Shaded was her dream
By the dusk curtains:—’twas a midnight charm
Impossible to melt as iced stream:
The lustrous salvers in the moonlight gleam;
Broad golden fringe upon the carpet lies:
It seem’d he never, never could redeem
From such a stedfast spell his lady’s eyes;
So mus’d awhile, entoil’d in woofed phantasies.
Annotation:
Porphyro’s whisper and physical presence heighten the intimacy of the scene. Madeline remains lost in her enchanted sleep, described as a “midnight charm,” impenetrable and ethereal. The rich imagery of “lustrous salvers” and “broad golden fringe” reflects the luxurious surroundings, emphasizing the dreamlike atmosphere. Porphyro’s musings reveal his emotional entanglement in the moment, torn between awe and hesitation.
Stanza 33
Awakening up, he took her hollow lute,—
Tumultuous,—and, in chords that tenderest be,
He play’d an ancient ditty, long since mute,
In Provence call’d, “La belle dame sans mercy”:
Close to her ear touching the melody;—
Wherewith disturb’d, she utter’d a soft moan:
He ceas’d—she panted quick—and suddenly
Her blue affrayed eyes wide open shone:
Upon his knees he sank, pale as smooth-sculptured stone.
Annotation:
Porphyro plays a delicate melody to awaken Madeline, choosing “La belle dame sans mercy,” a song of unfulfilled love. This choice subtly foreshadows the tension between desire and consequence. Madeline’s “soft moan” and “blue affrayed eyes” emphasize her vulnerability and confusion as she awakens. Porphyro’s kneeling posture, likened to a “smooth-sculptured stone,” conveys his reverence and frozen anticipation.
Stanza 34
Her eyes were open, but she still beheld,
Now wide awake, the vision of her sleep:
There was a painful change, that nigh expell’d
The blisses of her dream so pure and deep
At which fair Madeline began to weep,
And moan forth witless words with many a sigh;
While still her gaze on Porphyro would keep;
Who knelt, with joined hands and piteous eye,
Fearing to move or speak, she look’d so dreamingly.
Annotation:
Madeline’s awakening blurs the lines between her dream and reality. The “painful change” signifies the disruption of her idealized vision of love, contrasting with the “pure and deep” bliss of her dreams. Her weeping and “witless words” reflect her disorientation, while Porphyro’s kneeling and silent fear highlight his helplessness, unsure of how to bridge the gap between fantasy and reality.
Stanza 35
“Ah, Porphyro!” said she, “but even now
Thy voice was at sweet tremble in mine ear,
Made tuneable with every sweetest vow;
And those sad eyes were spiritual and clear:
How chang’d thou art! how pallid, chill, and drear!
Give me that voice again, my Porphyro,
Those looks immortal, those complainings dear!
Oh leave me not in this eternal woe,
For if thou diest, my Love, I know not where to go.”
Annotation:
Madeline recognizes Porphyro but perceives him as altered from her dream. Her description of him as “pallid, chill, and drear” contrasts with the idealized image of him in her vision. Her plea for him to restore his “immortal” presence underscores her struggle to reconcile her dream with reality. This stanza captures the fragility of romantic expectations when faced with the imperfections of reality.
Stanza 36
Beyond a mortal man impassion’d far
At these voluptuous accents, he arose
Ethereal, flush’d, and like a throbbing star
Seen mid the sapphire heaven’s deep repose;
Into her dream he melted, as the rose
Blendeth its odour with the violet,—
Solution sweet: meantime the frost-wind blows
Like Love’s alarum pattering the sharp sleet
Against the window-panes; St. Agnes’ moon hath set.
Annotation:
Porphyro’s emotions reach a climactic intensity as he becomes almost “ethereal,” likened to a “throbbing star.” The imagery of his blending into her dream, “as the rose blendeth its odour with the violet,” symbolizes their unity and the transcendence of love. However, the “frost-wind” and “sharp sleet” outside serve as reminders of the harshness of reality, contrasting with their tender moment. The setting of St. Agnes’ moon marks the passage of their enchanted night.
Stanza 37
‘Tis dark: quick pattereth the flaw-blown sleet:
“This is no dream, my bride, my Madeline!”
‘Tis dark: the iced gusts still rave and beat:
“No dream, alas! alas! and woe is mine!
Porphyro will leave me here to fade and pine.—
Cruel! what traitor could thee hither bring?
I curse not, for my heart is lost in thine,
Though thou forsakest a deceived thing;—
A dove forlorn and lost with sick unpruned wing.”
Annotation:
Madeline’s realization that this is not a dream brings both joy and sorrow. Her fear of abandonment and her description of herself as a “dove forlorn” emphasize her vulnerability. Her love for Porphyro is unwavering, even as she wrestles with feelings of betrayal and insecurity. The dark and stormy weather mirrors her inner turmoil and heightens the tension of the scene.
Stanza 38
“My Madeline! sweet dreamer! lovely bride!
Say, may I be for aye thy vassal blest?
Thy beauty’s shield, heart-shap’d and vermeil dyed?
Ah, silver shrine, here will I take my rest
After so many hours of toil and quest,
A famish’d pilgrim,—sav’d by miracle.
Though I have found, I will not rob thy nest
Saving of thy sweet self; if thou think’st well
To trust, fair Madeline, to no rude infidel.”
Annotation:
Porphyro reassures Madeline of his devotion, pledging himself as her “vassal.” His metaphors of a “silver shrine” and “famish’d pilgrim” emphasize his reverence and persistence in his quest for her love. He promises to respect her and asks for her trust, framing their union as a sacred bond. This declaration balances his earthly passion with spiritual devotion.
Stanza 39
“Hark! ’tis an elfin-storm from faery land,
Of haggard seeming, but a boon indeed:
Arise—arise! the morning is at hand;—
The bloated wassailers will never heed:—
Let us away, my love, with happy speed;
There are no ears to hear, or eyes to see,—
Drown’d all in Rhenish and the sleepy mead:
Awake! arise! my love, and fearless be,
For o’er the southern moors I have a home for thee.”
Annotation:
Porphyro urges Madeline to flee with him, describing the storm as an “elfin-storm” that provides cover for their escape. The contrast between the drunken revelers (“bloated wassailers”) and their sober, romantic resolve underscores the purity of their love. The promise of a safe home on the “southern moors” symbolizes hope and a fresh start, away from the dangers of the mansion.
Final Stanzas
They glide, like phantoms, into the wide hall;
Like phantoms, to the iron porch, they glide;
Where lay the Porter, in uneasy sprawl,
With a huge empty flaggon by his side:
The wakeful bloodhound rose, and shook his hide,
But his sagacious eye an inmate owns:
By one, and one, the bolts full easy slide:—
The chains lie silent on the footworn stones;—
The key turns, and the door upon its hinges groans.
And they are gone: ay, ages long ago
These lovers fled away into the storm.
That night the Baron dreamt of many a woe,
And all his warrior-guests, with shade and form
Of witch, and demon, and large coffin-worm,
Were long be-nightmar’d. Angela the old
Died palsy-twitch’d, with meagre face deform;
The Beadsman, after thousand aves told,
For aye unsought for slept among his ashes cold.
Annotation:
Porphyro and Madeline escape the mansion “like phantoms,” their stealthy movements reinforcing the gothic atmosphere. The descriptions of the groaning door and sleeping bloodhound heighten the suspense. The conclusion shifts to the aftermath: the Baron’s haunting nightmares, Angela’s death, and the Beadsman’s lonely passing. These somber images contrast with the lovers’ hopeful flight, leaving a bittersweet ending.
Literary And Poetic Devices: “The Eve of St. Agnes” by John Keats
| Device | Example | Explanation |
| Alliteration | “The hare limp’d trembling through the frozen grass” | The repetition of the “t” sound in “trembling” and “through” creates a soft rhythm, reflecting the cold and delicate atmosphere of the stanza. |
| Allusion | “St. Agnes’ Eve” | Refers to the feast of Saint Agnes, traditionally associated with visions of future lovers. This biblical and cultural allusion ties the poem to themes of faith and ritual. |
| Anaphora | “And still she slept… And loosens her fragrant bodice…” | The repetition of “And” at the beginning of successive lines builds a hypnotic rhythm, emphasizing the continuity and flow of the scene. |
| Assonance | “A dove forlorn and lost with sick unpruned wing” | The repetition of the “o” sound in “forlorn” and “lost” creates a melancholic tone, enhancing the feeling of despair and vulnerability. |
| Contrast | The Beadsman’s asceticism vs. the revelry of the feast | Juxtaposes the spiritual devotion of the Beadsman with the worldly indulgence of the feasting guests, emphasizing themes of piety and excess. |
| Enjambment | “Full on this casement shone the wintry moon, / And threw warm gules on Madeline’s fair breast” | The line spills over without a pause, mirroring the natural flow of light and lending a fluid, lyrical quality to the description. |
| Foreshadowing | “Already had his deathbell rung” | Suggests the impending death of the Beadsman, creating a foreboding atmosphere that foreshadows the somber conclusion of the poem. |
| Gothic Imagery | “The sculptur’d dead, on each side, seem to freeze, / Emprison’d in black, purgatorial rails” | Evokes a haunting, macabre mood characteristic of Gothic literature, emphasizing themes of mortality and spiritual liminality. |
| Hyperbole | “Legion’d faeries pac’d the coverlet” | Exaggerates the fantastical elements of Madeline’s dreams, emphasizing their magical and otherworldly quality. |
| Imagery | “Candied apple, quince, and plum, and gourd; / With jellies soother than the creamy curd” | Vivid sensory details appeal to taste and sight, enhancing the lush and luxurious tone of the scene. |
| Irony | The Beadsman prays for others but dies alone, unsought. | Highlights the futility of his sacrifices and the indifference of the world, creating a poignant commentary on devotion and mortality. |
| Metaphor | “Porphyro grew faint: she knelt, so pure a thing, / So free from mortal taint” | Compares Madeline to an ethereal, angelic figure, underscoring her purity and innocence. |
| Mood | The storm at the end: “Quick pattereth the flaw-blown sleet” | The storm creates a sense of urgency and danger, reflecting the lovers’ flight and the chaos surrounding their escape. |
| Onomatopoeia | “The kettle-drum, and far-heard clarinet, / Affray his ears” | The sounds of the instruments are mimicked in the text, enhancing the sensory experience of the revelry and contrasting with the quietude of Madeline’s room. |
| Personification | “Music’s golden tongue / Flatter’d to tears this aged man and poor” | Gives human qualities to music, emphasizing its emotional power and its ability to affect even the frail Beadsman. |
| Romanticism | The lovers’ escape into the storm, leaving societal norms behind | Embodies the Romantic ideals of individualism, passion, and a connection with nature. |
| Sensory Imagery | “Her blanched linen, smooth, and lavender’d” | Appeals to touch and smell, enhancing the reader’s immersion in the poem’s intimate and sensory-rich environment. |
| Simile | “Like a rose should shut, and be a bud again” | Compares Madeline’s vulnerability and innocence to a rose, symbolizing beauty, fragility, and the possibility of renewal. |
| Symbolism | The “silver cross” on Madeline’s chest | Represents her faith and purity, acting as a spiritual safeguard amid the temptations and dangers of the night. |
| Tone | Shifts from reverent and dreamlike to urgent and foreboding | The reverence in the descriptions of Madeline’s rituals shifts to tension as Porphyro intrudes, and finally to a sense of bittersweet urgency as they flee together. |
Themes: “The Eve of St. Agnes” by John Keats
1. Love as a Transcendent and Fragile Force
Keats presents love as both a transcendent ideal and a delicate, fleeting emotion. Madeline’s yearning for her “vision of delight” on St. Agnes’ Eve is rooted in her belief in the ritual’s power to unite her with her destined lover. This belief elevates love to a mystical plane, where it becomes intertwined with faith and ritual. Porphyro, driven by passion, seeks to embody this ideal, praying fervently “to give him sight of Madeline.” Their eventual union is described in ethereal, dreamlike terms: Porphyro “melted, as the rose / Blendeth its odour with the violet,” symbolizing their spiritual and physical connection. However, the fragility of their love is evident in Madeline’s awakening, where the “painful change” of reality disrupts her dreamlike vision. This tension between idealized love and its fragility highlights Keats’s Romantic perspective on the beauty and impermanence of human emotions.
2. The Interplay of Dreams and Reality
The boundary between dreams and reality is a central theme, shaping the tone and progression of the narrative. Madeline’s adherence to the rituals of St. Agnes’ Eve reflects her desire to escape the mundane and enter a realm of idealized love through her dreams. Her dreamlike state is vividly portrayed as she lies “like a rose should shut, and be a bud again,” evoking innocence and vulnerability. However, reality intrudes when she awakens to find Porphyro at her side. Her initial confusion—“Her eyes were open, but she still beheld / The vision of her sleep”—underscores the dissonance between her dream and the real world. This interplay between illusion and reality culminates in their flight into the storm, where the dreamlike atmosphere of the poem gives way to the starkness of their uncertain future. Keats uses this theme to explore the tension between human aspirations and the often harsh truths of reality.
3. Faith and Ritual as Sources of Comfort and Danger
Faith and ritual play dual roles in the poem, providing both solace and a backdrop for potential peril. Madeline’s devotion to the ritual of St. Agnes’ Eve, where young virgins “must retire / And couch supine their beauties, lily white,” symbolizes her hope for divine intervention in her love life. This spiritual act contrasts with the worldly indulgence of the feasting guests, whose “silver, snarling trumpets” represent excess and materialism. At the same time, Porphyro exploits her faith to enter her chamber, transforming her ritual into a moment of vulnerability. The Beadsman’s prayers, too, reflect a contrasting dimension of faith—his devotion is solitary and self-sacrificial, culminating in his quiet death. Through these portrayals, Keats examines the complexities of faith and ritual as sources of both guidance and conflict in human experience.
4. The Intersection of Mortality and Immortality
Mortality and immortality weave through the poem, creating a gothic tension that permeates the narrative. The Beadsman’s presence establishes this theme, as his “frosted breath” and frail body symbolize the inevitability of death. The sculpted figures in the chapel, “imprison’d in black, purgatorial rails,” underscore this theme, reminding readers of the liminal space between life and death. Conversely, Madeline and Porphyro’s love attempts to transcend mortality through its intensity and idealism. Their love is framed in almost eternal terms—Porphyro calls Madeline his “silver shrine” and pledges to be her “vassal blest.” However, the somber conclusion, marked by Angela’s death and the Beadsman’s lonely passing, reminds the reader that even the most fervent emotions and dreams are bound by the mortal coil. By juxtaposing moments of timeless beauty with inevitable decay, Keats reflects on humanity’s desire for immortality amid the certainty of death.
Literary Theories and “The Eve of St. Agnes” by John Keats
| Literary Theory | Application to The Eve of St. Agnes | References from the Poem |
| Romanticism | Romanticism emphasizes emotion, individual experience, and the sublime. Keats explores the intensity of love, the interplay of dreams and reality, and the beauty of nature. | Madeline’s yearning for her dream lover exemplifies Romantic idealism: “She sigh’d for Agnes’ dreams, the sweetest of the year.” The storm outside mirrors the sublime power of nature. |
| Feminist Criticism | This theory critiques gender dynamics and the treatment of women. Madeline’s passive role in the narrative reflects societal expectations of female purity and submission. | Madeline is idealized as “so pure a thing, / So free from mortal taint,” and her ritualistic devotion renders her vulnerable to Porphyro’s gaze and actions. |
| Psychoanalytic Theory | Freud’s concepts of dreams, desires, and the unconscious can be applied to Madeline’s and Porphyro’s behaviors. Her dream represents suppressed longing, and his actions, desire. | Madeline’s adherence to the St. Agnes ritual reveals her subconscious yearning: “Full of this whim was thoughtful Madeline.” Porphyro intrudes her dream world, blending desire and reality. |
| New Historicism | This theory examines the historical and cultural context. The poem reflects societal norms of the Romantic era, including chivalric ideals and Christian traditions. | The St. Agnes ritual, where “young virgins might have visions of delight,” highlights historical beliefs about purity, gender, and faith. Porphyro’s knightly devotion aligns with chivalric ideals. |
Critical Questions about “The Eve of St. Agnes” by John Keats
1. How does Keats explore the tension between idealized love and reality in the poem?
Keats vividly portrays the tension between the idealized notion of love and the harshness of reality through the interplay of dreams and awakening. Madeline’s belief in the St. Agnes’ Eve ritual symbolizes her longing for a perfect love, as she performs the rites with unwavering faith: “They told her how, upon St. Agnes’ Eve, / Young virgins might have visions of delight.” This romantic idealism finds its peak in her dream, where she envisions Porphyro as a flawless, divine lover. However, upon awakening, the “painful change” she experiences—”Her eyes were open, but she still beheld / The vision of her sleep”—highlights the discord between her idealized dream and the tangible presence of Porphyro. His physicality, described as “pallid, chill, and drear,” contrasts with the spiritual and perfect figure she had imagined. Through this, Keats suggests that while love may aspire to transcendence, it remains tethered to the imperfections of human reality.
2. How does Keats use imagery to create a sense of both enchantment and danger in the poem?
Keats masterfully blends enchanting and perilous imagery to evoke a Gothic atmosphere throughout the poem. The descriptions of Madeline’s chamber, bathed in moonlight through a “casement high and triple-arch’d,” conjure a sense of ethereal beauty. The “carven imag’ries” of fruits, flowers, and saints lend a dreamlike quality to the setting. However, this enchantment is juxtaposed with ominous imagery, such as the “frosted breath” of the Beadsman and the “snarling trumpets” of the feast, which symbolize death and chaos. The storm outside, with “quick pattereth the flaw-blown sleet,” intensifies the danger as Porphyro and Madeline flee the mansion. Keats’s use of sensory contrasts highlights the fragile line between the magical allure of love and the ever-present threat of loss and mortality.
3. What role does faith and ritual play in shaping the characters’ actions and the poem’s narrative?
Faith and ritual are central to the poem, influencing both Madeline’s and Porphyro’s actions. Madeline’s adherence to the St. Agnes’ Eve rites reflects her trust in divine intervention to fulfill her romantic desires: “And couch supine their beauties, lily white; / Nor look behind, nor sideways.” Her rituals lend an air of sanctity to her love, elevating it beyond mere earthly passion. Porphyro, on the other hand, manipulates this ritual, positioning himself as the fulfillment of her dream while violating the sacred space of her chamber. His duplicity contrasts with Madeline’s sincerity, exposing the vulnerability that faith can create. Additionally, the Beadsman’s devout prayers and ultimate death symbolize the futility of piety in a world driven by passion and danger. By intertwining faith with human desires, Keats critiques the fragile balance between spiritual devotion and mortal pursuits.
4. How does the poem reflect the societal and cultural values of the Romantic era?
“The Eve of St. Agnes” reflects many values of the Romantic era, including the celebration of individual emotion, the fascination with the supernatural, and the idealization of nature and love. Madeline’s longing for a dream lover and her adherence to mystical rituals align with the Romantic emphasis on personal passion and spiritual transcendence. The description of the storm outside—“Love’s alarum pattering the sharp sleet / Against the window-panes”—symbolizes the Romantic fascination with nature as both a sublime force and a mirror for human emotions. Additionally, Porphyro’s role as a lover risking his life for Madeline embodies the Romantic ideal of chivalric love and individual heroism. However, the poem also critiques societal norms, particularly the restrictive expectations placed on women, as Madeline is both idealized for her purity and rendered vulnerable by her devotion. Keats thus uses the cultural framework of the Romantic era to explore deeper tensions between individual desires and societal constraints.
Literary Works Similar to “The Eve of St. Agnes” by John Keats
- “La Belle Dame Sans Merci” by John Keats
Both poems explore themes of idealized love, enchantment, and the tension between reality and fantasy. The portrayal of a dreamlike, otherworldly atmosphere links the two works. - “Christabel” by Samuel Taylor Coleridge
This Gothic narrative poem shares an atmosphere of mystery and supernatural tension, with a central focus on innocence, seduction, and the interplay of light and dark. - “The Lady of Shalott” by Alfred, Lord Tennyson
Similar in its exploration of isolation, longing, and a dreamlike existence, this poem also juxtaposes the idealized inner world of the protagonist with the harshness of reality. - “The Rime of the Ancient Mariner” by Samuel Taylor Coleridge
Both poems incorporate rich imagery, Gothic elements, and themes of penance and spiritual transformation, weaving a sense of foreboding into the narrative. - “Ode to a Nightingale” by John Keats
This poem reflects Keats’s fascination with the conflict between transience and permanence, mirroring the tension in “The Eve of St. Agnes” between the fleeting nature of dreams and the permanence of reality.
Representative Quotations of “The Eve of St. Agnes” by John Keats
| Quotation | Context | Theoretical Perspective |
| “St. Agnes’ Eve—Ah, bitter chill it was!” | Opens the poem with a description of the cold, harsh setting, establishing the gothic atmosphere and tension between warmth and isolation. | Romanticism: Emphasizes nature’s impact on human emotions and sets the tone for the tension between physical and spiritual realms. |
| “The sculptur’d dead, on each side, seem to freeze, / Emprison’d in black, purgatorial rails.” | Describes the Beadsman’s prayer in a chapel filled with statues, reflecting themes of mortality and spiritual liminality. | New Historicism: Highlights historical attitudes toward death and the afterlife during Keats’s era. |
| “She sigh’d for Agnes’ dreams, the sweetest of the year.” | Reflects Madeline’s yearning for the mystical promise of St. Agnes’ Eve, where dreams reveal a lover’s identity. | Psychoanalytic Theory: Suggests her subconscious desire for romantic fulfillment and transcendence. |
| “And still she slept an azure-lidded sleep, / In blanched linen, smooth, and lavender’d.” | Describes Madeline in a state of pure, dreamlike innocence, as seen from Porphyro’s perspective. | Feminist Criticism: Examines the idealization of female purity and the male gaze’s role in shaping her image. |
| “Her eyes were open, but she still beheld, / The vision of her sleep.” | Captures the moment Madeline awakens, still caught between her dream and reality, reflecting the tension of the poem. | Romanticism: Explores the interplay between imagination and reality, a hallmark of Romantic thought. |
| “As though a rose should shut, and be a bud again.” | Likens Madeline’s vulnerability and innocence to a rose, symbolizing beauty and fragility in the context of her ritualistic faith. | Symbolism: The rose represents purity and the fleeting nature of youth and idealism. |
| “Porphyro grew faint: she knelt, so pure a thing, / So free from mortal taint.” | Describes Porphyro’s awe-struck reaction to Madeline, reinforcing her angelic and unattainable image. | Feminist Criticism: Highlights the construction of women as objects of male reverence and idealization. |
| “The bloated wassailers will never heed:— / Let us away, my love, with happy speed.” | Porphyro urges Madeline to flee the hostile environment of the mansion, emphasizing urgency and danger. | Gothic Theory: Blends romance with elements of suspense and danger, characteristic of the Gothic tradition. |
| “Like a throbbing star / Seen mid the sapphire heaven’s deep repose.” | Porphyro is described with celestial imagery, reflecting his passion and idealized role as a romantic hero. | Romanticism: Elevates human emotions to sublime, universal levels, characteristic of Romantic literature. |
| “And they are gone: ay, ages long ago / These lovers fled away into the storm.” | The poem concludes with the lovers’ escape into the unknown, blending hope and foreboding. | Romanticism: Focuses on individual passion and the embrace of nature as a liberating force, even amid uncertainty. |
Suggested Readings: “The Eve of St. Agnes” by John Keats
- Farnell, Gary. “‘Unfit for Ladies’: Keats’s ‘The Eve of St Agnes.'” Studies in Romanticism, vol. 34, no. 3, 1995, pp. 401–12. JSTOR, https://doi.org/10.2307/25601127. Accessed 28 Dec. 2024.
- Wilson, James D. “John Keats’ Self-Reflexive Narrative: ‘The Eve of St. Agnes.'” South Central Review, vol. 1, no. 4, 1984, pp. 44–52. JSTOR, https://doi.org/10.2307/3189461. Accessed 28 Dec. 2024.
- Gibson, Gail McMurray. “Ave Madeline: Ironic Annunciation in Keats’s ‘The Eve of St. Agnes.'” Keats-Shelley Journal, vol. 26, 1977, pp. 39–50. JSTOR, http://www.jstor.org/stable/30212802. Accessed 28 Dec. 2024.
- Bennett, Andrew J. “‘Hazardous Magic’: Vision and Inscription in Keats’s ‘The Eve of St. Agnes.'” Keats-Shelley Journal, vol. 41, 1992, pp. 100–21. JSTOR, http://www.jstor.org/stable/30210432. Accessed 28 Dec. 2024.
- Gilbreath, Marcia. “The Etymology of Porphyro’s Name in Keats’s ‘Eve of St. Agnes.'” Keats-Shelley Journal, vol. 37, 1988, pp. 20–25. JSTOR, http://www.jstor.org/stable/30209888. Accessed 28 Dec. 2024.
- Betz, Laura Wells. “Keats and the Charm of Words: Making Sense of ‘The Eve of St. Agnes.'” Studies in Romanticism, vol. 47, no. 3, 2008, pp. 299–319. JSTOR, http://www.jstor.org/stable/25602151. Accessed 28 Dec. 2024.