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Discuss the theme of death in the poem of Alfred Lord Tennyson
Tennyson's treatment of death in his poem
Alfred lord tennyson’s maud; a monodrama madness or maud
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In Alfred Lord Tennyson’s Maud (1855), the speaker confronts the shameful fate of dead remains and evaluates the role of nonliving materials such as hair, bones, shells, and rocks. Although critics rarely comment on the geological process in the poem, in-depth analysis of Maud reveals an underlying message about purpose and fate through fossilization. By analyzing Tennyson’s background, experiences, and lines in Maud, I argue that Maud is a “selving” poem as the speaker questions what happens to his remains and his legacy after he is gone. Additionally, the poem is a critique on how society devalues the living out of greed. To achieve this message, Tennyson utilizes his experience and studies of geological processes and fossilization to create a narrative out of the past for the present. …show more content…
In his work Tennyson and Geology (1985), Dennis R. Dean claims that Tennyson appeared at ease with the geological world (Dean 21). However, an analysis of Maud reveals that it “gravitates towards the ground,” meaning that the poem concerns the relics of life and the agents of change that affect all matter. Influenced by his reading of geology, especially Charles Lyell’s Principles of Geology, Tennyson examines the fossilisation processes that result in the incorporation of dead remains and living organisms into the geological system (Geric 59). Tennyson’s tropology in Maud is mainly geological; however, the text embraces a general conception of remains in regard to what the dead have left behind such as the ring of hair that Maud’s brother wears. These remains are readable relics and fragments that allow the speaker to recreate the past as a description of the present (Geric
The Film, Harold and Maude, which was released in the year 1971, follows a 20 year old boy, Harold, with a narrow view on life. He spends his time attending funerals of people he does not know and faking suicides in attempts for his mother’s attention. She however finds his actions immature and foolish, thus showing the strain on their relationship. One day however, at a random funeral, Harold meets Maude, a 79 year old women with a zest for life. She is fun-loving and happy at all times. Their friendship grows as Harold’s mother simultaneously tries to find him a wife. Harold soon develops an intimate love for Maude that she reciprocates. Harold’s spirits are lifted and he breaks from his unhappy existence by leaving his mother to marry Maude.
The interpretations of what comes after death may vary greatly across literature, but one component remains constant: there will always be movement. In her collection Native Guard, Natasha Trethewey discusses the significance, permanence and meaning of death often. The topic is intimate and personal in her life, and inescapable in the general human experience. Part I of Native Guard hosts many of the most personal poems in the collection, and those very closely related to the death of Trethewey’s mother, and the exit of her mother’s presence from her life. In “Graveyard Blues”, Trethewey examines the definition of “home” as a place of lament, in contrast to the comforting meaning in the epitaph beginning Part I, and the significance
After centuries of serving as background noise to her husband Ulysses’ odes of sea storms, sirens, and celebrity, the mythological Penelope finally steps into the light in Miriam Waddington’s poem “Ulysses Embroidered.” Functioning as a revisionary text to both the Alfred, Lord Tennyson work “Ulysses” and the tradition of The Odyssey itself, “Ulysses Embroidered” quickly strikes its readers as a fiercely feminist re-envisioning of Penelope and her tale. Waddington’s work allows for an age-old legend to be told in a new way with a bold, feminine speaker, but to what end do her changes remark on Tennyson’s original work? By engaging in two separate modes of revision by both reading against the grain and “constantly [engaging] in dialogue” to work in tandem with the original poem, Waddington
Millay’s poem “Thou famished grave” explores death’s inevitable success and the speaker’s resistance against it to gain victory within loss. The first way Millay achieves this is through the animalization of death. The poem describes death throughout with words such as, “roar” (2) and “jaws” (7), which leads to a portrayal of death as a predatory animal. A further description in the poem of the speaker as “prey” (9), helps to strengthen this portrayal. As a result, this animalistic depiction of predator and prey shows death’s advantage and dominance over life. In addition, it shows that the speaker is like a gazelle being hunted by a lion. They will not stand motionless and be defeated, but will run away to survive death and “aim not to be
This idea of memories being forgotten is when there is a mention of graves being lost in “Elegy for the Native Guard”. This is further reinforced in the line “All the grave markers, all the crude headstones – water-lost.” (44) While the poem does allude to the fact that these graves were destroyed due to natural causes, that of a hurricane, it is still significant. This poem demonstrates that society’s memory is not permanent, it can and will be lost
The poem “Thanatopsis” by William Cullen Bryant reveals a very unusual aspect of nature. While most people think of nature as beauty and full of life, Bryant takes a more interesting approach to nature. He exposes a correlation between nature, life, death, and re-birth. Using nature as a foothold, Bryant exercises methods such as tone, setting, and imagery in a very intriguing way while writing “Thanatopsis.”
Similarly, ashes take the form “of ash-grey men, who moved dimly and already crumbling through the powdery air”. (21) The stiff, weak movements show its inhabitants to be barely alive. These men have the same lack of life and vitality as their surroundings do. This is seen in the inhabitants of the valley. George Wilson, who...
We are born into this world with the realization that life is hard and that life is like a box of chocolates and it is hard to take it at face value. The majority of our time is spent trying to answer an endless stream of questions only to find the answers to be a complex path of even more questions. This film tells the story of Harold, a twenty year old lost in life and haunted by answerless questions. Harold is infatuated with death until he meets a good role model in Maude, an eighty year old woman that is obsessed with life and its avails. However, Maude does not answer all of Harold’s questions but she leads him to realize that there is a light at the end of everyone’s tunnel if you pursue it to utmost extremes by being whatever you want to be. Nevertheless, they are a highly unlikely match but they obviously help each other in many ways in the film.
The diction Kenyon employs for her description of the poem’s physical and psychological setting serves as Kenyon’s primary means for presenting her argument regarding the nature of the mourning process and its failure to help those who have lost loved ones. The poem’s first stanza begins as follows, “Like primitives we buried the cat with his bowl. Bare-handed we scraped sand and gravel back into the hole(1-4).” The first two words, “like primitives,” give the reader immediate insight into Kenyon’s opinion regarding the nature of the burial itself. She sees it as a means of coming to grips with death that is less evolved than the mental state of those that it attempts to help. When the first stanza is interpreted as a whole, the reader is...
The journey of life overflows with grand moments intermingled with inevitable sorrow. Each moment creating a chain reaction. In Maud; A Monodrama, Alfred Lord Tennyson explores the journey of a man in the universal search for the perfect Garden of Eden. Originally titled Maud or Madness, he described the “little Hamlet” as the history of a morbid poetic soul” who is “the heir of madness, an egotist with the makings of a cynic” (Hill 214). In the throes of madness, the protagonist experiences the grandest emotional triumph and the lowest depths of despair. Each milestone is marked by his cynicism. The protagonist “in his happiness, he is a cynic, in his unhappiness, a madman” (Crayon n. p.). Tennyson uses floral symbolism and vivid imagery to explore the mental voyage of madness in this “splendidly executed psychological study” (Hill 214).
The subject of this poem is drawn from a line in Shakespeare’s Measure for Measure: ‘‘Mariana in the moated grange.’’ This describes a young woman waiting for her lover Angelo, who has abandoned her upon the loss of her dowry. From the outset Tennyson creates an impression of profound disrepair and decrepitude, the ‘sheds’ are left broken and abandoned, the thatch is ‘worn’ and covered in weeds. Everything is coated in rust, moss or dust, unmoving, inactive and still. This strong suggestion of stagnation recurs throughout, and is emphasized by the refrain of the poem:
Alfred, Lord Tennyson was one of the most famous poets of the Victorian era, some of his most famous poems include Ulysses, In Memoriam or Lady of Shalott. This paper will focus on his poem published in 1830 entitled Mariana. Mariana is Tennyson's well known poem, inspired by the charactre of the same name in shakespear's play Measure for Measure. T.S Eliot heard in Mariana 'something new happening in English verse”, and critics such as Carol Christ or Dwight Culler have “commented preceptively on its use of atomistic detail to create a landscape of strangeness appropriate to this sick-spirited maiden”. Mariana is a complex poem it is both a lyrical poem and a pathetic fallacy.
The name of the poem I am writing about is called “The Eagle” by Alfred,
“Elegy Written in a Country Churchyard” is a poem composed by Thomas Gray over a period of ten years. Beginning shortly after the death of his close friend Richard West in 1742, “Elegy Written in a Country Churchyard” was first published in 1751. This poem’s use of dubbal entendre may lead the intended audience away from the overall theme of death, mourning, loss, despair and sadness; however, this poem clearly uses several literary devices to convey the author’s feelings toward the death of his friend Richard West, his beloved mother, aunt and those fallen soldiers of the Civil War. This essay will discuss how Gray uses that symbolism and dubbal entendre throughout the poem to convey the inevitability of death, mourning, conflict within self, finding virtue in one’s life, dealing with one’s misfortunes and giving recognition to those who would otherwise seem insignificant.
“In Memoriam A. H. H.,” a large collection of poems written by Alfred Lord Tennyson, is an extended expression of the poet's grief for the loss of his beloved friend Arthur Hallam. The poem takes the speaker on a journey that describes an individual’s struggle through the stages of grief. In 1969, Elisabeth Kübler-Ross first proposed five stages of grief which include denial, anger, bargaining, depression and finally acceptance in her book titled, “On Death and Dying.” Elisabeth Kübler-Ross’s universal stages of grief are expressed in Alfred Lord Tennyson’s poem “In Memoriam A. H. H.”