How does Williams create a sense of tension and drama in the scene 4 monologue? - analyse language closely and the way it is crafted to create effects

There are various ways in which Williams skilfully uses his medium of drama and plays in order to create tension throughout this monologue, including the use of setting and language. The most prominent feature in the setting of this scene is the sounds of the trains passing over the sisters before and after Blanche’s monologue.

The train is used almost as a surreal narrator over Blanche’s speech- it almost detaches the sisters’ conflict from the world around them due to the sense of being blocked out by the sound, as the overwhelming noise of the train is described as a ‘’cover’’. Although this ‘’cover’’ is used mainly for the allowance of Stanley to enter the scene unnoticed, it additionally infers a sense of isolationism. In this sense, the scene contains additional tension due to its relations to the themes of isolationism running throughout the play. The detachment of conflict from the rest of the world portrays to the audience how the overwhelming tension between the characters creates a sense of suffocation. As if they are swathed by the fog of their tensions and desires, which deafens them from the world around them- prohibiting any attempt of escape.

The sound of the trains is additionally used to create tension for the sake of dramatic pragmatisms. The train allows Stanley to eavesdrop upon the scene and Blanche’s onslaught of cutting insults, ‘’He acts like an animal’’. In this context, Stanley’s presence throughout the monologue whilst the sisters are unaware of it creates a sense of dramatic irony for the audience. This creates further tension and emphasises the sudden shift in the drama, this is the pivotal moment where Stanley is motivated to utterly destroy Blanche; and the audience are the only ones to be aware of this.

Furthermore, Stanley ‘’licking his lips’’ further foreshadows this animalistic desire for domination of Blanche and to attain control over her. This gesture contains heavy connotations of a primal hunger- desire. The attitude of which Blanche aptly pointed out to Stella as being heavily present in him, ‘’something-ape like about him’’. Showing how despite her irrationality and deteriorating mentality, Blanche nonetheless identifies a definite primal danger residing within Stanley, one which she is both afraid of and attracted to. This creates drama for the audience, as again, only they see Stanley's reaction to the speech, only they can sense the foreshadowing of Blanche’s imminent doom.

Also, Stanley’s carrying of ‘’packages’’ as he enters refers to his introduction into the play; carrying packages of meat for Stella to cook for him. Emphasising his animalistic and primal nature- one which remains unchanging and constant throughout the play. Creating further tension for the audience, as the reuse of this technique to portray Stanley as animalistic only further creates an emphasis upon his potential for violence. In hindsight, this creates an overwhelming concern for Blanche’s safety, and whether or not she will survive to the end of the play.

In addition to this, drama is created intensely due to the hypocrisy of Blanche’s language in regards to her oration and her supressed desires. Blanche refers to Stanley as a ‘’survivor if the Stone Age!’’. Although she  uses it derogatively, nevertheless the fact that Stanley is a survivor in hindsight- as well as Stella’s comment that he is the only one likely to get anywhere- neutralises any attempt to degrade him in regards to this. Blanche further uses the Pre-historic man analogy in order to portray Stella’s and Stanley’s relationship as primitive, one driven only by ‘’brutal desire’’.  She describes their relationship as Stanley ‘’Bearing the raw meat home’’ with Stella playing the submissive wife ‘’waiting for him’’. Although this is a direct challenge towards Stella’s and Stanley’s relationship, nevertheless it is undeniable that Blanche is likely driven primarily by jealousy. Her shamelessly open attraction towards him is driven by her subconscious desire to be in such a relationship.

Blanche lacks the security of a husband and a socially acceptable relationship, it is in this way that she is most vulnerable, as her deterioration both in her beauty and her mind leaves her without the tools she would traditionally use as a Southern Belle to survive. Although she is driven by genuine concern for her sister, and her abhorrent relationship with Stanley, it is undeniable she is also driven by a need to invalidate Stella’s security in said relationship in order to assert her own romance-less position.

Blanche’s contradiction in her dictations and her desires throughout the monologue create further tension and drama for the audience. They are aware of her suggested checked past- the nature of which at this time is still unclear- however, her desperation appeals to the sympathetic nature of the audience towards her. The monologue is broken up frequently by caesuras, emphasising the hysteria which is beginning not only to take hold of Blanche’s mind, but also to weaken her most powerful weapon- her language. In a tone of hysteria, Stella is far less likely to take Blanche seriously and to take heed her warning about Stanley’s true nature, as Blanche’s communicational power begins to lose its influence over her sister.

Her accusations against Stanley are certainly not invalid; however they become somewhat hypocritical when she discusses how Stella’s and Stanley’s relationship is somehow inferior, as his affections towards Stella are described with ‘’grunt and kiss’’.  Due to her Blanche’s desire for the security of marriage, her distain of Stanley and Stella’s relationship is somewhat undermined and hypocritical. But, the definite attachment to Blanche and her anxiety towards this destructive kind of desire emphasises to the audience how damaging the relationship between Stanley and Stella is likely to be. Not only presenting tension due to the concern for the safety of Stella and her baby, but also for Blanche. Whom Stanley has now identified as a threat to his power, the audience knows that Stanley is never deterred by violence in order to achieve his goals.

To conclude, Blanche’s monologue and the setting of the speech in scene 4 uses a variety of techniques and subtle details in order to emphasise the growing sense of imminent doom. Heightening the audiences concerns for Blanche’s safety and preparing them for the onslaught of despair which is to ensue.

STREETCAR NAMED DESIRE- OLD SOUTH VS NEW AMERICA CRITICS ESSAY SUMMARY

A STREECAR NAMED DESIRE- critical essays ‘’Old South vs New America’’

GABI REIGH September 2015

Conflict throughout Streetcar portrays the advancement of the ‘New America’ and the dissipation of the ‘Old South’. A conflict of cultures which began post-Civil War (1861-65) rooted in the gothic history of the South’s loss.

The South is depicted as defeated in view of its own corruption as well as the advancement of a culture which bases its principles upon efficiency and resourcefulness, rather than the Southern value of gentility and reputation.

CONTRAST OF COSTUME & CHARACTER PRESENTATION

Blanche is depicted to originate from a background of privilege and wealth ‘’daintily dressed in a white suit’’ shows her life is centred around pleasure rather than work.

Her presence in Elysian Fields is ‘’incongruous’’- Thomas Porter described Streetcar as an ‘Inverted version of the Civil War romance’ ie it is a satire of traditional American romanticism of class conflict. Blanche is the ‘invader’ of this New America, which resents her and will destroy her. 

Inversion of the Civil War- Southern Belle invading Industrialised North

Stanley’s ‘’Blue work-clothes’’ shows his working class, progressive and industrial attitude- focus upon money & ambition to succeed. ‘’Blue’’ work clothes is again another reference to the Civil War- the North Soldiers uniform was blue. Further infers the deep roots of the Civil War culture within Streetcar. Stanley’s ‘’bowling jacket’’ shows prioritisation of sport & pop culture rather than intellectual pursuits.

The final presentation of the characters costume in the rape scene portrays the final power struggle of the North & South- and the South’s inevitable defeat. Blanche ‘’soiled and crumpled’’ reflects the ultimate shame the South endured & still suffers from today. Stanley triumphant in ‘’brilliant pyjama coat’’ shows the indulgence the North is now able to access from their crushing of the Southern opposition.

Streetcar critics the indulgent & corrupt society of the South, whilst mourning the chivalry & literary romanticism it brought. Which the New America views as inefficient and useless.

Blanche & Mitch dancing to the waltz on the radio reflects the reminiscence of a time of chivalry & Blanches constant attempts to cling onto it- defence of art, poetry & music ‘’Hawthorne, Whitman and Poe’’. Contrasts to Stanley’s New American view towards this as ‘hoity-toity’ snobbery- throws radio out of the window.

Blanches decline mirrors the decline of the South & its traditions, disappearing amongst the dark philistine modern America, portrayed in ‘’Belle Reve’’ ‘beautiful dream’.

Decline of the DuBois family is inspired by ‘The Fall of the House of Usher’ 1839 by Poe- earlier Southern Gothic poet in the decline of romantic literature. Blanches obsession with escaping the death of Belle Reve is reflected in her various ‘intimacies’ and eventually leads to her downfall, from ‘Desire’ to ‘Cemeteries’

Blanche’s death of her husband vs Stella & Stanley’s new marriage full of life & vivacity

Constantly haunted by polka tune vs ‘’gaudy seed-bearer’’

New society allows ‘every man is king’ concept, whereas Blanche’s world of gentility views Stanley’s behaviour as brutal & immoral 

SETTING IN STREETCAR- PRESENTATION

SETTING STREETCAR- PRESENTATION

BROADER CONTEXT- NEW ORLEANS & ‘DEATH ALLEY’

·         New Orleans described to be Williams ‘Spiritual home’- reflects how although the play is riddled with nostalgia for the Old South and its large, pillared plantations, the bustling New America is where Williams finds he is truly comfortable; possibly due to its more progressive nature both economically and socially (his homosexuality is more likely to be accepted

·         The ‘Death Alley’ from his childhood was where dogs would chase unsuspecting cats, in order to devour them- similar to Darwinism- the somewhat brutal and primal experiences within the setting of his development most likely inspired his relationship between Stanley and Blanche

·         New Orleans was filled with cultural diversity- shown in the ‘Negro’ woman, Stanley’s Polish ancestry and Pablo- which starkly contrasted with the white-washed community of the Old South- as Blanches illusions rely upon the colour ‘’white’’ and a false sense of purity. Criticism of the dated cultural divide found in the South- that progress lies in a multi-ethnic community ‘’easy intermingling of races’’

·         ‘’Blue’s’’ was prominent throughout the industrialisation of New America- the constant background ‘’Blues piano’’ creates a much more atmospheric setting, adding to the dragging sense of melancholy and stagnancy of the characters situation, as well as a sense of impending misery and strife

ELYSIAN FIELDS

·         Theoretically- houses typically represent the personalities and mentality of the people living in them and around them. ‘’White frame’’ ‘’weathered’’ ‘’rickety’’- the colour of the houses represents Blanches desperate attempt to hold onto a sense of purity, by surrounding herself in the symbolism of it, as well as foreshadowing her fate to be taken to an asylum, as the white walls of a state mental hospital are likely to have embedded themselves in William’s mind (Roses lobotomy). 

Additionally the ‘’rickety’’ and ‘’weathered’’ structure of the houses reflect not only Blanche’s fading beauty and reputation, but also her unstable and unpredictable state of mind, which balances precariously on the edge of the abyss, aptly reflecting her fragility ‘’I’ve got to get a hold of myself’’

·         Supposed to represent Elysium- Greek heaven, place of rest and blessing upon brave and heroic souls who had died in battle and were seeking peace. Portrays how this place is Blanche’s last hope/place of refuge from those who wish to ruin her. Ironically she is completely denied any sense of peace or safety when she comes here- inversion is a cynical outlook upon religion and its tendency to be exclusive to the ‘righteous’ and ‘pure’. Blanche’s character may additionally be inspired by Mary Magdalene- former prostitute who followed Jesus

APARTMENT

·         Cramped/small ‘’Two rooms can be seen’’ creates a sense of entrapment. Reflects how Blanche and Stella are trapped- Blanche is trapped by her ruined reputation, only escapes Stanley when she is taken to an asylum. Stella is trapped and bound to the apartment by her responsibilities as a wife and a mother- lured by the intriguingly different atmosphere of New America and Stanley’s primal, brutal character; contrast to traditional Southern gentility

·         The small size of the apartment creates a sense of anxiety and building tension between the characters which cannot escape the scene. Blanche creates a sense of escapism by claiming the bathroom- angering Stanley as she manages to find a refuge from him. The building tension in the apartment means the emotions and frustrations of the characters cannot escape, in a sense suffocating and suppressing their character- which responds by being driven via impulse and desire (ie Stanley)

·         Apartment is dark: Blanche wishes to avoid light to conceal her truth and withhold a fragment of her illusion, ‘’I won’t be looked at in this merciless glare’’- Stella and Stanley seek darkness as its cover allows them to take advantage of their invisibility and engage in their primal relationship, ‘’He smashed all the light bulbs with the heel of my slipper!’’

GOOD FRIDAY- NOTES

TITLE

• Jesus' crucifixion- Christian importance; Rossetti's religious devotion- Betrayal & Pain

''Am I a stone, and not a sheep''

• Interrogative- insecurity showed through focus on state of being} analytical
• ''Stone''- Insentient, lacks empathy
• ''not a sheep''- Does not relate to the followers of Christ} self doubt

''That I can stand, O Christ, beneath Thy cross''

• Places herself beneath Christ- 'Fallen women'} Mary Magdalene

''To number, drop by drop, Thy blood's slow loss''

• Counting; detached, analytical
• Recognises the drag of his death- painstaking

''And yet not weep?''

• Emotionless
• Detached

''Not so those women loved''

• Unspecified, detached from the accepted disposition of women
• ''loved'' defined

''Who with exceeding grief lamented Thee''

• Over dramatic- reflects detachment of speaker from emotion} Extreme
• View emotion as excessive/ a triviality
• Critical

''Not so the thief was moved''

• ''Not so'' repeated, emphasises significance of a void/ lack of something

''Not so the Sun and Moon''

• ''Not so'' Alone in a new stanza, emphasises a greater scale/epic scale- the universe

''Which hid their faces in a starless sky''

• Shying away/turning away gaze- implies crying/ fear]
• Starless sky- without light or guidance, lack of beauty} void of meaning

''A horror of great darkness at broad noon''

• Emphasis of anxiety and loss
• Overwhelming/ Melodramatic

''I, only I''

• Lonely/Abandoned- Abandoned by God} Anxious, self absorbed, introspective
• Self detachment, nothingness
• Ugly line} Disrupts rhythm, irregular

''Yet give not o'er''

• Balances negative tone of poem
• Resolution & atonement
• Non- existentialist, not completely lost

''But seek Thy sheep, true Shepherd of the flock''

• Internal rhyme- Sonal harmony} Resolution and clarity

''Greater than Moses, turn and look once more

And smite a rock''

• Biblical connotations
• Moses in the desert- water pours out of rock:
• Life vs Stagnancy
• Rossetti see's herself as the rock requiring smiting- needs a miracle

FIRST 3 STANZAS

• Doubt, fear} Negativity
• Outcast, fear,loneliness, focus on death

http://padlet.com/colup1/rossetti

ECHO QUESTIONS

1) The tone of ''come to me'' is commanding, creating a sense of power and assertion in the speaker in the midst of their struggling character.
2) They feel this entrapment and nostalgia due to the separation from their love- the memory of their experience binds them to feelings of negativity and loss.

3) They feel this entrapment and nostalgia due to the separation from their love- the memory of their experience binds them to feelings of negativity and loss.

4) In this speakers version of Paradise- despite the idea that Paradise is the most beautiful place in existance- the souls within Paradise appear to feel a sense of entrapment and controversially, unsatisfaction. In the souls ''thirsting, longing eyes'' it is revealed that despite their position in Paradise, the souls are somewhat unfufilled, as if something missing from their considered highly fortunate situation.

The speaker uses a tone of anxiety in order to emphasise the sense of entrapment and unsatisfaction, as they meticulously watch the door to Paradise open, close but ''let out no more''. This technique of anxiety emphasises the incessant longing and loss these souls feel, even if only for the sake of nostalgia.

WILLIAMS CHRONOLOGY

WILLIAMS CONTEXT- STREECAR NAMED DESIRE

Blanche, Stella & Stanley- KEY QUOTES ACT 1 SCENE 1 PART I

STANLEY

• ''Carries his bowling jacket and a red-stained package'' Association of colour implies violence and anger. Implication of the primitive and violent nature of Stanley's character
• ''[bellowing] Hey, there! Stella, Baby!'' Shows Stanley's dominant nature, view of superiority and possession over his life
• ''Meat! he heaves the package at her'' Violent, lugging, primitive- shows animalistic attitude, women are for the purpose of procreation & cooking

STELLA

• ''gentle young woman'' Completely contrasts the character of her husband- implies submissive nature
• ''She cries out in protest'' ''she laughs breathlessly'' Initial protest of violent/animalistic behaviour turns to exhilaration- reflects Stella's attraction to brutality 
• ''Can I come watch?'' Has to ask permission of husband to join in with him- Stanley's dominant nature controls her
• ''[She laughs but her glance at BLANCHE is a little anxious]'' Constantly checking for cracks in Blanche's facade- aware of her psychological history
• ''[carefully, pouring herself a drink]'' Stella always enacts a certain amount of caution/reservation- contrasts Blanche's overexposed & erratic nature 
• ''Aren't you being a little intense about it?'' Stella is painfully aware of how her environment completely contrasts the aristocratic society Blanche is accustomed to
• ''I just got in the habit of being quiet around you'' Refers to Blanche's psychological history, Stella has to always be guarded and vigilant, in case something triggers her
• ''You look just fine'' Stella is accustomed to reassuring Blanche's vanity
• ''[uncomfortably]: I never had anything like your energy Blanche'' Noticed Blanche's overly talkative, nervous disposition. The erratic energy Blanche displays concerns her
• ''[a little wearily]: It's just incredible, Blanche, how well you're looking'' ''[dutifully]: They haven't slipped one particle'' Ritualistic, Stella has to go through flattering and reassuring Blanche, due to her anxiety of ageing

BLANCHE

• ''valise'' Suitcase, shows she has intention of staying
• ''They told me to take a street-car named Desire, and then transfer to one called Cemeteries'' Reveals the ongoing theme of the play- desire & the impulse of life vs consequence & death. Juxtaposition of themes relates to ''Death Alley'' and Rose's room in William's childhood
• ''Stella DuBois. I mean- Mrs. Stanley Kowalski'' Shows her utter rejection of the match, she cannot accept that Stella has married below her class- reflects Blanche's superiority complex in regards to class/wealth
• ''Belle Reve?'' Remains an idea throughout the play, a symbol of a privileged existence and a way of life that has been superseded. Intended to translate to 'beautiful dream' the house is a fantasy, a version of the Old South that was never real
•   ''stiffly'' ''shoulders slightly hunched'' Blanche's body language perfectly depicts her insecurity, anxiety and lack of confidence 
• ''legs pressed close together'' Gives her an appearance of frigidity- which we know in hindsight to be completely false
•  ''blind look goes out of her eyes'' Fades in and out of reality, portrays her psychological fragility
• ''carefully replaces the bottle'' Accustomed to hiding her true instability
• ''I've got to keep a hold of myself'' Blanche recognises her unravelling psychosis, she does not wish to alarm Stella and jeopardise her last chance of shelter
• ''I won't be looked at in this merciless glare'' Insecurity of her fading youth and beauty, wishes to hide from the light as it exposes her truth
• ''bottle nearly slips'' Blanche's instability manifests itself physically
• ''Only Poe!'' Blanche's comparison of Stella's home to the gothic, gloomy imagery created by Poe is extremely insulting. But captures the brewing sense of dread that escalates during the play *Fall of the House of Usher*
• ''I was on the verge of-lunacy'' Broken speech when explaining her lack of employment implies she is nervous, lying
• ''You haven't said a word about my appearance'' ''my looks are slipping!'' Blanches inferiority complex in relation to her ageing consumes her throughout the play
• ''beautiful self control'' Blanche has many things to be envious of in Stella- her youth, self control, marriage...
• ''you left Belle Reve'' Intended to cause guilt, accusation of abandonment- infers to the abandonment Blanche suffers at Stella's hands in the final scene

“Despite its Christian morality, Rossetti gives all of the dramatic and poetic power to the character of Laura.” Explore the way Rossetti depicts temptation in Goblin Market in light of this quotation.

In Rossetti's lifetime, her passions and desires were often suppressed due to the expectation of Victorian women to be demure and submissive. In order to control said passions and to conform to the reformations of society, Rossetti channeled her emotional turmoil into her religious devotion and Tractarianism, as well as into her poetry; which often contains themes of suppressed sensuality and scandal.

In this sense, Laura and Lizzie portray the conflicting sides of Rossetti's character; one pious and pure, the other passionate and empowering. Laura's poetic presence gives her character a greater sense of power in comparison to Lizzie, ''reared her glossy head and whispered like the restless brook''. Laura is in this case portrayed as majestic, vibrant and bubbling with life, much in contrast with Lizzie who merely ''covered up her eyes''.

The poetic favouritism directed towards Laura by Rossetti creates a multi-faceted and likable character. Due to Laura's associations with temptation and sensuality, one can only assume that Rossetti is either attempting to defy the attitude of society towards 'fallen women' in the 19th century, or defying the attitude towards sensuality altogether. Portraying passion and temptation as a natural occurrence, not as something originating from evil, as Laura's passions were apparent even before the goblins had influenced her, in her character being similar to a ''restless brook''. Suggesting that her emotions and passions are not suppressed like Lizzie's, but rather create a sense of beauty and life in her.

In portraying Laura's passions and emotional turmoil directly and uncensored, Rossetti may have been attempting to humanise 'fallen women' who were otherwise shunned and outcast from considered 'respectable' society. Rossetti frequently worked with charities in assisting prostitutes and women who had engaged in considered scandalous activities. Laura, therefore, may be interpreted as an outcry against the unjust treatment of these women, as despite her submission to temptation, Laura is no less of a character than when the poem began to introduce her, as ''light danced in her eyes'' after the ordeal with the goblins. Laura retains her passionate character and her lively nature, despite submitting to the temptation of the fruit. If the fruit is translated to mean sex, and Laura has become fallen. Her retaining of a sense of purity and life is thus reflecting on Rossetti's compassion towards fallen women, and on her opinion that sensuality within a persons character does not always equate to evil- nor does it deserve complete condemnation.

Alternatively, the poetic presence of Laura and her relationship with temptation and sensuality could be interpreted as Rossetti's way of channeling her belief towards suppressed passion, a feminist statement in which sensuality is not viewed to be completely steeped in corruption and evil. Similarly to a protest for fallen women, Laura's recovery despite her temptation and her consistent presence within poetic language shows how passion does not cause misery.

Laura's similarity to a ''leaping flame'' and her characters animation despite her submission to temptation portrays that Rossetti does not utterly correlate sensuality with an evil or morally corrupted character. More so that Laura's poetic power and passionate character is created to channel Rossetti's suppressed desire, and to emphasise that sensuality is a part of human nature- giving in to temptation is ultimate for humanity. We should therefore learn from Lizzie and accept the mistakes that our loved ones make; supporting them and helping them recover. As Laura's passions are within all of us- which does not mean we should be shunned nor ridiculed for expression of them.

Maude Clare- Notes minus Quotes

SUMMARY- The poem recounts the story of two women, Maude Clare and Nell. They are both in love with the same man, Sir Thomas, who has chosen to marry Nell- due to her superior social status and wealth. On his wedding day, Maude appears with wedding gifts consisting of the gifts he had presented to her through the course of their unfulfilled courtship. She declares to Nell that she can have what is left of the love Maude and Thomas shared. However, Nell asserts that she loves her husband enough to overlook his past, and will replace Maude Clare despite her moral inferiority and lesser beauty.

WOMEN AND MARRIAGE IN THE 19^TH CENTURY

Many Victorians considered marriage to be at the centre of a stable society. It was widely believed that a happy family contributed to the well-being of the country. Women were forced to rely on men for their financial upkeep since most jobs were closed to them, so a good marriage was important. It was generally believed that if a woman was unmarried she was somehow not complete.

CHARACTERS

MAUDE CLARE-
Moral
Righteous
Proud
Defiant- speaks after mother to defy social hierarchy
‘fallen woman’- suggested to have engaged in a sensual relationship with the lord ‘’ankle-deep’’

LORD THOMAS
Speaks once
His character is only there to represent the cruelty of aristocracy
Weak willed- submitted to marrying a woman more appropriate for his social status
Conflicted- speech is broken into caesurae, suggests confliction and insecurities
Ambiguous character

NELL
Inferior to Maude Clare in all ways ‘’more wise and much more fair’’- aside from her social superiority and wealth
Cold
Shallow
Bitter
Detached- ‘’I’ll love him till he loves me best’’

MOTHER

Wealth

High social status- first character to speak

Controlling- arranged marriage

Proud

Blinded to the scandals her son has taken part of

THEMES

PRIDE
Maude Clare’s pride and awareness of her morality leads to her defiance and scorn of the characters at the wedding. But also gives her the confidence to defy them
The mother’s pride causes her to be blind to Thomas’s mistakes, also emphasises the cruel and lack of empathy in the aristocracy
Nell’s pride results in her misunderstanding of love and emotional connection between MC and Thomas

BETRAYAL
Thomas betrays the love he had with Maude Clare in order to appease his mother and conform to the expectations of the social hierarchy
The mother is suggested to have been in the same position as Nell when marrying Thomas’s father- she betrays Thomas in forbidding him to marry the woman he loves
Maude Clare’s presence at the wedding may be interpreted as a warning to Nell that Thomas is likely to betray her as he betrayed MC

JEALOUSY
Nell’s jealousy of Maude Clare portrays her as petty and selfish
Maude Clare’s jealousy is what causes her to attend and spoil the wedding

IMAGERY

HEARTH
A hearth is the part of a room which holds a fireplace, perceived to be at the centre of the Victorian home. Provided comfort and sustenance, it was seen to be central to well-being and health
By claiming that she wished to ‘bless' their hearth, Maude Clare ironically comments on the negativity her presence brings. Instead of blessing it with warmth, she proposes to bless it with a coldness which is unnecessary and detrimental to the health of the couple. The extent of the coldness of her presence could account for the paleness in the faces of both Thomas and Nell.

BOARD
A board is the table upon which meals are shared, the place where communion and generosity can be found.
Traditionally, the idea of blessing the ‘board' would be providing food for a family to enjoy. By saying that her ‘gift' will bless their board, Maude places herself at the heart of their domestic life and thus stands in the way of the happy communication they might enjoy.

MARRIAGE BED
By claiming that she wishes to ‘bless' their marriage-bed, Maude Clare inserts herself between the intimacy that should exist between Thomas and Nell alone
Maude's presence threatens to disturb their sleep, disrupt their love for one another and threaten the well-being of any future children they may have.

THE GOLDEN CHAIN
Maude gives back to Thomas her half of the ‘golden chain' they had split between them when he was courting her
She suggests that she no longer wants to retain any portion of him. It is the final breaking of the bond that she felt was tying her to him.

LILIES
Maude tells Thomas that she remembers wading through grass as they searched together for ‘lilies in the beck'
On his wedding day, she gives back to him her half of the ‘faded leaves' that they plucked whilst the lilies were in bloom
Lilies have been associated with purity since ancient times. They are widely regarded a symbol of fertility, being used as a wedding flower and are also seen as a symbol of death, being placed on graves
By reminding Thomas that ‘lilies are budding now' Maude Clare both offers an ironic comment on his marriage to another woman and recalls the hope that she once had regarding getting married herself.

BLOOM AND DEW
Maude claims that if the gift she has for Thomas and Nell consisted of fruit or flowers, their bloom and the dew would have long disappeared
Bloom and dew indicate life and growth, Maude suggests that she comes to bring destruction. She hints that the gift she wants to give back is her share of Thomas' ‘fickle heart'
Spoken of ironically as a gift, she presents it more as a burden and a shame she wants to be rid of
Rather than symbolising love, she considers that his heart is a symbol of unfaithfulness and indecisiveness.

BECK
Religious connotations- suggest ultimate corruption and impurity of humanity
Could also suggest MC’s ‘scandalous relationship’ with the lord was in fact one of love and purity, blessed by heavenly powers
A beck is a river/stream with a rugged bed or difficult course- premonition that MC’s affair was never to be happy or to end in such a way which was desirable i.e. marriage

FORM- BALLAD
Traditional ballad
AB AB rhyme scheme
Alternate iambic tetrameter and trimeter lines
Traditional ballads written to make a moral statement, tell a popular story or to celebrate or attack certain institutions or people.
Maude Clare has an ABCB rhyme scheme- avoids fitting the pattern of a ballad smoothly, disjointed

Reflects upon the tone and context of the story, as one of heart break and trial

Goblin Market- A summary

The premise of Goblin market is focused upon two sisters- Lizzie and Laura; young, innocent and pure. They presumably reside on a farm in the country, labouring every day upon the farm until dusk. When dusk comes, however, a troop of goblins pass by their home. These goblins carry with them a plethora of delicious fruits, of every colour and flavour- which look fit enough for a royal feast.

Lizzie, demure and obedient, covers her eyes and ears from the temptations of the goblins, and runs away. Laura, on the other hand, curious as to the nature of the goblins, lingers behind. Seeing a new customer, the goblins are gleeful. They sing and lure her to their feast, treating her like a queen, allowing her to gorge to her hearts content.

Laura eats and eats and eats, until all the fruit is consumed, before returning home to an anxious Lizzie. Lizzie retells the story of Jeanie; who, like Laura, tasted the fruit. Jeanie pined for another taste, turned grey and faded away by the first snowfall. Laura dismisses this caution, elated and euphoric in her sensual experience. However, by the next morning, whilst Lizzie completes her duties with feverously and with enthusiasm, Laura is distant and distracted. By nightfall, Lizzie starts at the sound of the goblins, exclaiming they have to leave. Laura cannot see or hear the goblins, so returns home in shock, pining for the fruit again.

Laura begins to dwindle away, just like how Jeanie did. Lizzie does not act immediately due to her fear of the goblins. She then realises that Laura will die unless she takes initiative and buys her more fruit. That evening she waits by the river bank for the market. When the malicious faeries come into view, she tosses them a coin and requests fruit to take home. They insist that she eats with them; however she is adamant that she must return to Laura. The goblins then turn, snarling and scratching, they torment Lizzie. Tying her down and mocking her, attempting for force fruit into her mouth. 

 Lizzie stands firm, refusing to taste it, eventually the goblins tire of her, and scuttle away into the undergrowth and rivers. Lizzie returns to Laura, her face smeared in the juices of the goblin’s fruit. She kisses Laura, in doing so, allows her to taste the fruit juices once more. This sends Laura into a delirious fever, which burns away the goblins touch and purifies her.

Come morning, Laura is awake and as full of life as always. The poem ends several years later, both the girls are married with families of their own; Laura tells them this tale, of her fatal curiosity and Lizzie’s courage. And besets upon them this piece of advice-

“For there is no friend like a sister

In calm or stormy weather;

To cheer one on the tedious way,

To fetch one if one goes astray,

To lift one if one totters down,

To strengthen whilst one stands.”

Explore the way Rossetti presents nature in her poems

Rossetti uses nature in extensive and subtle ways in order to add depth and meaning to the overall interpretation of the poem and its characters, as well as to add complexities to her works which indirectly challenge the consensus of her time. In her childhood, Rossetti read copious amounts of fairy tales and folklore, as well as romantic poetry and various religious texts. It is clear in her poetry due to the extensive use of natural imagery that she loved writing in a similar style. Adapting techniques used by poets such as Keats, and channelling her deep religiosity by using the power of nature to capture her relationship with God, and her devout Tractarianism.

Rossetti uses many specific aspects of nature to create different meanings and tones within her poetry. One of the most common forms of natural symbolism within her works is water. Water is traditionally used to represent purity, serenity and femininity. Although Rossetti on occasion uses water in this way, she also uses water to represent power, or to invert the nature of a considered scandalous situation.

In ‘Maude Clare’ Rossetti allows the reader a glimpse of the nefarious love affair, and suggests not only a romantic relationship between Maude Clare and the lord, but also a sexual one, “That day we waded ankle-deep for lilies in the beck”. During the 19^th century, any exposure of skin was hyper sexualised, in particular women’s shoulders and ankles. The fact that Maude Clare and the lord were depicted to be ‘’ankle-deep” is a subtle way of suggesting that their relationship was scandalous in further ways than classes intermingling- they may have had sexual relations.

However, the Rossetti uses the term ‘’beck’’ to refer to the river that they were standing exposed in. The term ‘’beck’’ has religious connotations, suggesting perhaps the ultimate corruption of humanity, or, that Maude Clare’s dalliance was not one of entirely malicious content, or of corruption. The relationship between the term ‘’beck’’ and the bible suggests that Rossetti is trying to challenge the social consensus towards sex. The ‘sexual malpractice’ between the lord and Maude Clare although considered to be morally corrupt, was in fact one of purity and expression of love, as the ‘’beck’’ represents purity. However, a ‘’beck’’ is a stream with a stony bed or a rugged course, suggesting that Rossetti is revealing that although this relationship was pure and loving, it was doomed from the moment it began, and the nature of where their love was consummated revealed that it was never to end in a joyful way.

Additionally, Rossetti uses water to capture the vivacity of life, and the power that it holds over nature, by frequently placing vivid imagery of nature alongside water, ‘’flowers bedewed and green’’ and ‘’water’d shoot’’. In this consistent adjoining of water with beauty, life and plenty, Rossetti reflects upon the utmost reliance upon water for life. Due to this, Rossetti associates water in her poetry not only with purity, but also power, and intensity. Her use of ‘’halcyon sea’’ not only portrays the grandeur and intensity of the speaker’s heart- as halcyon is a brilliantly intense blue colour. Not only this, but also the term ‘’halcyon’’ refers to the legend of Halcyon. This legend focuses upon religious devotion and religious experience, and reveals the origin of the term ‘halcyon days’- which are days of utmost calm and tranquillity. This suggests that Rossetti uses this term accompanied with water to emphasise its calm and intensity, as well as religious focus upon water, which relates to her strong, Anglican faith.

Rossetti not only uses water within her poetry, but also focuses upon imagery involving trees. In ‘’Paradise: In a Dream’’ the speaker refers to the ‘’Tree of life’’ to emphasise the fertility of paradise and it’s bountiful ‘’fruits’’. The ‘’Tree of Life’’ is traditionally a medieval analogy for the crucifixion, however, it focuses upon the provision of Jesus’ sacrifice. This correlates with traditional imagery of the tree being a focal point of provision for the environment around it. Acting not only as a source of food, but also as a place of shelter; continuous and stable. This reflects Rossetti’s interpretation of religious imagery and her relationship with faith, which is interpreted to be one of admiration and gratitude, rather than one of fear and subjugation.

Additionally, the usage of ‘’Tree of Life’’ relates to how Rossetti’s works are heavily influenced by fairy tales and folklore. Rossetti’s strong Tractarianism means any deliberate pagan reference within her works would be denied, however, the tree of life has been used across many druidic and pagan religions. This image is deeply embedded within English history due to its old associations with magic and mysticism.

The image of the tree is further used in ‘A Birthday’, ‘’my heart is like an apple tree’’. Although apples have connotations within religion of temptation, and corruption, Rossetti uses the tree to further her interpretation of God and Jesus, not as condemners, but as providers. Who give and sacrifice for the benefit of nature. Despite the tree being used positively within her poetry, Rossetti uses the tree to symbolise death, and the ritualistic obsession with death in the 19^th century.  Rossetti refers to the ‘’cypress tree’’ in ‘Song’ whilst addressing the needless focus of physical acknowledgement of death, rather than the focus on the spiritual side. The cypress tree is traditionally associated with sacrifice and death, although the association with death is not a traditional approach from Rossetti, the link between the tree’s symbolism of sacrifice and the consistent use of trees to represent God and Jesus according to their sacrifice and provision for us furthers the idea that Rossetti uses the tree largely to represent the figureheads of her religious devotion.

Moreover, Rossetti also uses various creatures to add different tones to her poem. In particular, birds. Rossetti uses birds to create a wistful tone to her speaker, as she associates the bird with a certain freedom that humans could never attain. This is explored in various ways throughout her poetry, ‘’soaring bird’’, ‘’the song-birds crossed’’, associating birds with swiftness, their presence often fleeting in her poetry, reflects upon how birds can move however they please with no suppression or regulation. This suggests Rossetti’s desire to be free from her own responsibilities and expectations which she undertook from a very early age. Frequently, the birds’ ‘’tender song’’ is associated with poetry, an adamantly key part of Rossetti’s life. Rossetti often associates birdsong with utmost joy, ‘’sing out thy notes on high’’ in ‘A Summer’s Wish’ and ‘’My heart is like a singing bird’’ in ‘A Birthday’ portrays how Rossetti connects the song of the bird with exultation and passion, not unlike her own towards poetry .The parallels between the role of the bird in nature and Rossetti’s suppressed desires to be expressive are only surpassed by her religious devotion; which, in a sense, contain her, as expected of women in her time.

Likewise, Rossetti also uses flowers to add more depth to her poetry, as well as creating more intense imagery. The flowers Rossetti uses most frequently are lilies and roses. Lilies are used in various works such as ‘Maude Clare’, ‘Song’ and ‘Paradise: In a Dream’. Due to lilies associations with purity and virtue, its usage in ‘Maude Clare’ creates a confliction with the entire context of the poem. Perhaps suggesting afore mentioned proposition that Maude Clare is in fact a pure and moral character, despite her possible sexual misconduct, when wading ‘’for lilies’’. Additionally, the flowers ‘’roses’’ and ‘’lilies’’ are associated with perfection in ‘’Paradise’’ as they are listed with various other beautiful flowers in order to recreate the perfection of the flower the speaker is attempting to describe. The flower in Rossetti’s poetry is not often used for any controversial sub meanings aside from suggesting Maude Clare’s purity with the imagery of lilies. The flower is used to represent utmost beauty and perfection, particularly when Rossetti’s theme is in reference to paradise.

Rossetti uses nature in numerous ways throughout her poetry in order to create intense imagery and varied emotional undertones. As well as to channel her admiration for the beauty that we live amongst, which she interprets to be created by God. In this sense, nature is most frequently used in Rossetti’s poetry when the text has a religious theme or a sub context of religion. Therefore, the focus of nature in Rossetti’s poetry is mainly due to her admiration of God, and wishing to channel her awe and adoration for them through the power and perfection that can be found in natural imagery. 

A comparison- Rossetti's ''Song'' & ''Remember''

In ‘Song’ and ‘Remember’ Rossetti attempts to capture her beliefs upon death and oblivion, and how they are affected by her religious dedication. Rossetti was a devout Anglican, refusing three marriage proposals on the basis of religion or lack of religion of her partners. During the 19^th century, society had a morbid fascination with death and the concept of the afterlife. Hence why gothic works such as ‘’Frankenstein’’ and many poets who based their writing upon darkness and grief, were so popular during this period; Rossetti is no exception. However, her reflections upon death deconstruct the Victorian need for excessiveness in their mourning process. Holding extravagant funerals, dressing in mourning clothes for months on end, clutching the memory of their deceased to the point of obsession. Rossetti’s view of death focuses upon the afterlife, the spiritual nature of death. Rather than the obsession and melancholy of those left behind.

In ‘Song’, Rossetti portrays a controlling but extremely intense character. The poem follows a regular rhyme scheme of couplets, which are consistent in each stanza regardless of whether the iambic trimeter rhythm has been distorted. The second and fourth as well as the sixth and seventh couplets rhyme within each stanza. The repetitive rhyme scheme creates a song-like tone to the poem, suggesting an innocent and playful voice. However, this completely juxtaposes the actual meaning of the poem, and the subtext of death and loss.

In contrast, ‘Remember’ contains an irregular rhyme scheme. The form of the poem as a sonnet, however, creates a sense of order and control. The chaos of the rhyme scheme reflects upon the speaker’s emotional turmoil, and that she is ambivalent in her interpretation of death. The sonnet form, however, constricts her expression about death. Similar to how women in the 1800s were restricted in their ability to express their opinions. Despite Rossetti’s reputation for challenging the social consensus, her speaker expresses themselves in a more conformed and sensitive way than the speaker in ‘Song’, which is accentuated by the restrictions of the sonnet structure, as the speaker remains tactful and tactical in their speech as they are confined within the fourteen lines of a sonnet.

Additionally, the nature of the poem as a sonnet reveals that the speaker is expressing themselves within the theme of love and time. Rossetti combines these within this poem, so the speaker reflects upon their love and the nature of it, as well as how death and time will affect it. In contrast, although ‘Song’ has no definite form, there is a consistent iambic trimeter, which attempts to supress the speaker into a rhythmic, regular form of expression.  However, the speaker often disrupts this in order to emphasise certain words and to add impact to the message they are trying to get across, such as in addressing their ‘’dearest’’. Which reflects the emotional attachment, and compassion felt by the speaker towards them, so much so that they disrupt the rhythm of the poem.

The speaker in ‘’Song’’ is portrayed as being a much more demanding character than that of the one in ‘’Remember’’. They frequently dictate what they wish for their ‘’dearest’’ to do once they have met their end, ‘’ sing no’’, ‘’plant thou no’’. The demanding and dominant nature of this speaker shows how they were most likely in control throughout their relationship. Contrasting to this, the speaker in ‘’Remember’’ is much less invested in their relationship, ‘’you tell me of our future that you plann’d’’ suggests that the speaker was not only more reserved, but more submissive and possibly less invested in the relationship than their partner was. Despite this, the speaker in ‘’Remember’’ is much more sensitive and tentative towards the emotional response of their partner, using euphemisms frequently, ‘’when I am gone away’’. This shows how the speaker, although less persistent in the relationship, is no less compassionate towards their partner. In contrast, although the speaker in ‘’Song’’ portrays their passions and desires much more openly, they are much less tactful towards the sensitivity of the subject. Introducing the subject with ‘’When I am dead’’, which is not only tactless, but blunt and holds no real regard for the emotion of their partner. Reflecting, perhaps, on how their domination in the relationship resulted in their partner not being able to express their emotions and communicate as much as they would have desired. This additionally links to the title of ‘’Song’’, as the speaker is singing out over the voices of the living and their lover, as to what they desire in death.

On the other hand, the speaker in ‘’Remember’’ simply wants that, to be remembered in a way which is not emotionally destructive for their partner, ‘’better by far you should forget and smile’’. Suggesting, possibly, that although the suppressed, the speaker of ‘’Remember’’ is more compassionate towards their partner.

However in both poems, the speakers reflect upon death as both freedom and as a prison.  In ‘’Remember’’ it has been afore mentioned that the speakers partner is suggested to be much more controlling over them. Therefore, death is freedom, in a manner of speaking. Particularly as the speaker has control over their death, if nothing else. Despite this suggestively positive outcome of death, the speaker describes death as ‘’the silent land’’. The speaker interprets death not only as physical, but is limbo-like; a plane of existence rather than living. The association of death with silence additionally frames death in a negative light, due to the fact that Rossetti’s greatest love is words, and poetry. The complete lack of which is most likely not dissimilar to hell for such a literary orientated person.

In song, death is similarly portrayed as a place of silence, ‘’I shall not hear the nightingale’’. However, the speaker in this poem trivialises the small pleasures that our sense give to us, rather than portray the silence in a negative and foreboding light. As the complete separation of our world from the spiritual one means any such nostalgia is irrational, as all you need in the spirit world is to be in the presence of God. This is reflected as such in ‘’Song’’ due to Rossetti’s strong Tractarian background, as the speaker trivialises the rituals required by the living to cope with death, under the illusion that they are paying the dead respect. When, in fact, it is utterly pointless, as in death the soul does not want for anything, aside from the spiritual nourishment that Rossetti craved. 

Christina Rossetti- Biography

Song- Christina Rossetti: The meter is iambic trimeter. Choose one line that perfectly reflects this. What’s the impact of this?

The poems underlying iambic trimeter drags the rhythm of the poem significantly, creating an underlying sluggishness. This, in turn, creates a sense of depression- extremely appropriate for a poem concerning the attitudes towards death and their lack of impact upon the deceased. A line that captures this technique is ‘’And if thou wilt, forget.’’- The simplicity of rhythm and structure in such a small and emotionally charged line reflects upon the speakers aim to undermine the importance of death and its ability to erase her from the memory of the living.

This line captures the ultimate fear of the individual, to fade into oblivion. Your impact upon the world, the memories you had and the people you met, your entire story is ultimately forgotten. This truth is bittersweet, as its finality forces us to appreciate life, and all its wonders, while we still can. A mention of such a crushing thought is very taboo, even in today’s encouragement of discussion and debate. For the speaker to mention this within her poem utterly contradicts her original aim, which is to take power from grief as it is inefficient for the deceased. This shows the speakers lapse in confidence, how she has to acknowledge her ultimate oblivion in order to plough on with her interpretation of death being peaceful in nature, despite the terrifying prospect of inevitability that comes with it.

The speaker structuring this in the iambic trimeter form cloaks such a terrifying prospect in simplicity, which makes it seem insignificant, compared with the overall message of the poem. Suggesting how even the speaker, in all her bravado, is also terrified at the prospect of the end. But merely implies an indifferent attitude for the sake of concern towards her partner. Even the speaker, despite her undermining of death and how ultimately it is anticlimactic, has doubts in herself and her beliefs. Much like how humans doubt God and their morals, and the chaos of our society.

Song- Christina Rossetti: What is the poem about?

Song

The poem ''Song'' is in essence, about the attitude towards death and grief. Although it is indirect, the speaker trivialises grieving as it does not help the deceased in any particular way, more is used for the benefit and comfort of the griever. The speaker addresses their ‘’dearest’’ directly in the first stanza. Obstinately saying ‘’sing no songs ’’, reflecting not only on their condescending attitude towards the concept of grieving, but also on their controlling nature, and on their ability to direct their grievers behaviour to a certain extent. This control over her ‘’dearest’’ suggests that they are in an intimate relationship. Particularly as the speaker disrupts the iambic trimeter of the poem in order to address them as such, showing that the speaker will go to great lengths to contact this loved one. This interlocks with the context of the poem, as the speaker trivialises grieving, perhaps, for the benefit of their partner.

This however, conflicts with the interpretation that the speaker belittles grieving in order to reveal its pettiness and triviality in relation to death. The speaker shows this attitude to grief by her blunt approach towards such a sensitive subject, stating primarily ‘’When I am dead’’. Her lack of sensitivity and caution towards the emotional wellbeing of her partner once she is deceased reveals her insensitivity and her lack of pensiveness for the impact upon her lover.

Although the poem is focused on revealing the speaker’s beliefs that grieving is an indulgence of the living. The speaker also romanticises death, which is most likely due to Rossetti's strong religious beliefs; and that death to her, is a blessing rather than a curse. Although the romanticism of death in the poem can be traced to Rossetti's religiosity, her mental health has been noted to fluctuate throughout her life. Diagnosed as ‘religious mania’ Rossetti most likely suffered from bouts of depression and anxiety. The melancholy her poems reflects this, and ‘’Song’’ is a perfect example.

The speaker states ‘’haply I may remember. And haply may forget.’’ In reference to her attitude towards the nature of death, and what she believes death to be. She trivialises the grief of her ‘’dearest’ not only due to her controlling attitude, but also because it seems completely obscure to her. Her interpretation of death is one of peace and tranquillity, although she will be leaving behind what she loves (the ‘’song’’ being a metaphor for poetry) she is ultimately happy in death. Most likely due to her belief that within the afterlife lies God. Therefore, she will not need ‘’roses at my head’’ as the physical world no longer affects her, grief and its rituals does not affect her. Hence why she belittles the fancies of grieving, as it is completely irrelevant to her in the afterlife. In which she is at peace, so does not need the pity of those left behind- more so that they require her pity, suggesting she undermines the concept of grief through compassion for those who loved her. This is an unusual approach to give her ‘’dearest’’ clarity, in order for them to accept her departure, and move on regardless.

How does the speaker in 'I come from' create a sense of identity?

The speaker in 'I come from' expresses his identity through free verse- which attempts to be structured similarly to a stream of consciousness; flowing but disjointed. The speaker's identity is constructed largely of childhood memories, from ''maths tables'' ''set of Observer I-Spy books'' suggesting that he comes from an educated background; which is clarified by ''a family of teachers''. However, the speaker's identity comes not only from this idyllic portrait of a family with ''clean handkerchiefs''. The speaker reveals that his identity is created by more violent, and sinister events which lurk within his childhood; ''skinheads and fights if you look the wrong way'' shows how violence and chaos also played a part in constructing who he is.

Additionally, other sinister events in his childhood ''a man who followed me back'' further attributes to the fact that although apparently picturesque; his childhood had almost sinister undertones to it, creating a sense of atmosphere and intrigue in regards to his identity.
This emphasises how his identity, like any humans, was created by good and bad things happening to him, which creates more genuity as the poem is aiming to be a stream of consciousness.

The poem is structured with varying sentence lengths, which paired with enjambment creates a disjointed feel to the poem ''waiting forever'' ''for the train to London. Although the enjambment makes the poem feel disjointed, it also allows it to flow. The enjambment emphasises that time is passing as the poem goes on, but also reflects on the ongoing onslaught of the mind, how it continues to think constantly and doesn't pause for breath like a spoken poem would.

Much like the contrasting events in his childhood- both threatening and bucolic- the poem flicks between these two themes. Each section of his childhood is separated and analysed in blocks, he comes from ''violence'' then from ''clean handkerchiefs'' in the next line. He comes from ''kindness'' then from ''rats behind the garage''. This contrast used to describe his origins and events in his childhood suggests that his identity is, in the same way, conflicted.

The speaker's sense of identity is that it lies within snapshots of his childhood, and is conflicting as well as coexisting. It has two sides to it, much like how every persons identity or character is multi-faceted, and not one long list of anecdotes and childhood memories.