Poetry Analysis of Morte D'Arthur
Although 'Morte D'Arthur' spirals through many stages, none is touched
upon to the extent at which it exercises pathos. Throughout it draws
upon the reader's emotions heavily, and enforces a feeling of
overwhelming pity until its last breath. 'The Prisoner of Chillon',
although similar in the aspect that it too bears the countenance of a
distressing piece of literature, does differ in tone slightly, for it
clearly relies more on the absolution of despair to deliver its
message. It too contains pathos in liberal amounts but is not governed
by it as the other. 'The Prisoner of Chillon' pushes past the levels
of sympathy and invokes an unwavering sense of hopelessness that traps
the reader in misery as effectively as the stone prison he relates to
us traps its prisoners. From a summary of the poems you would think
that the gathered opinions should be the reversed for in 'The Prisoner
of Chillon' leaves its protagonist with his life while the other ends
with the death of a great king and all he represents, yet the method
in which both spin their tales make you feel more misery on behalf of
the prisoner then for the dying king.
When fabricating their settings the authors often employ techniques
akin to one another. Tennyson refers to the scenery as 'place of
tombs' and 'ruin'd shrine," as he writes 'Morte D'Arthur'. This shows
that death is in the very countryside around him. The poem is about
death and Tennyson puts that into every aspect of his w...
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...ubject is
more important, it dwells heavier on your mind and makes the point far
clearer then a simple brushing over would. They both use rhyming and
rhythm devices to further their own emphasis, either pathos or
despair. 'Shrill, chill, with flakes of foam,' from Tennyson,
emphasising the weather. The experience of the prison from Byron,
'This was woe, but sure and slow.'
Throughout the poems both seem to use similar themes although
manipulate them to bring out their own desired goals. In the end it is
obvious that whereas Tennyson keeps a shimmer of hope in his poem,
Byron completely eradicated that and leaves a feeling of utter loss
and despair. There is nothing left once Byron has finished with his
writing, yet with Tennyson you can see a future coming through,
something new growing out of that which is left.
Alfred Tennyson breaks away from the pastoral discourse that is typical of the Romantic Age and transcends into the Victorian Age with a poem full of obsession, madness, death, love, and patriotism in his creation of Maud. In Maud, the state of the speaker’s life and his mental health are called into question from the very beginning. The speaker’s initial mental state is one of madness, a melancholic, morbidity that has been influenced by the suicide of his father into a persona that is not perfect or happy, but a disturbed man with nothing to recommend him to a higher state. We see this morbid side immediately when he says, “I hate the dreadful hollow behind the little wood, / Its lips in the field above are dabbled with blood- / red heath, / The red-ribbed ledges drip with a silent horror of blood, / And Echo there, whatever is asked her, answers / “Death.” (I,1-4). The speaker is already preoccupied with death and loss. He is all about thinking in extremes. The extremes of death, love, loss, and patriotism permeate his personality with such intensity that everything in his life is an obsession. The intensity of the character creates a situation where he never operates in the middle. He is always very high or very low either in anguish or happiness. It can be argued that his madness resonates as different phases of obsessions and that sanity at the end is not an arguable point as the reader never actually sees him operating within a sane situation. The speaker’s patriotic discourse in Part III is just one more obsession, another faucet of his internal madness that has found an alternate focus. The speaker’s is caught in a weave of madness that is present throughout ...
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