La Belle Dame sans Merci Members IntroductionSam ParaphraseCecile

La Belle Dame sans Merci • Members • • • Introduction------------------Sam Paraphrase------------------Cecile Vocabulary------------------Cecile Diction---------------------Jamie Speaker/Listener--------------Kate Structure-------------------Sam Special patterns-----------Sam&Jamie Metaphor, Contrast, Imagery-----Christine Romantic imitation of antique forms& Ballad----Bewing Conclusion------------------Cecile

Introduction • The Title: • The title was taken from an old French court poem by Alain Chartier. Keats wrote the poem on April 21, 1819. It appears in the course of a letter to his brother George. At the time, Keats was upset over a trap that had been played on his brother. He was undecided about whether to enter into a relationship with Fanny Brawne then. All these experiences probably went into the making of this powerful ballad. • http: //www. kobec. ac. jp/~watanabe/seminar/1998/yamamura. htm

• The Story: • The questioner meets a knight. The man has been hanging around there for long, and is obviously pale. The knight says he had met a beautiful, wild-looking lady in a meadow. He pleased her with flowers. She looked as if she loved him. He gave her his horse to ride, and he walked beside her. He cared about nothing but her, because she leaned over in his face and sang a mysterious song. She spoke a language he could not understand, but he was confident she said she loved him. He kissed her to comfort her, and then fell asleep. He dreamed of a host of kings, princes, and warriors, all pale as death. They cried out a terrible warning—she is the beautiful lady without mercy. And now he was her slave. After he woke up, the lady was gone, and the knight was left on the cold hill side. Finally, he kept on wandering around palely.

Paraphrase • O knight-at-arm, what can cause pain to you, hanging around alone and palely? • The reed has withered from the lake, and there is no bird singing. • O ! knight-at arm, what can cause the pain to you, so pale and so in your countenance? The squirrel ‘s barn is full, and the harvest has finished. • I see your brow just like lily, with painful moist and fever dew, and on your cheeks, like a rose is fading fast. • You said “ • I met a beautiful lady in the meadow, as a fairy’s child, she has long hair, light footsteps, and her eyes are wild.

• I made a garland for head, bracelets, and fragrant belt of flower. She looks at me, her sweet moan made me feel that she likes me. • She sat on my horse, roaming around. She’s singing the fairy’s song and bending on me, I couldn’t see anything all day long. • She found some relish roots, wild honey, and sweet dew, then she gave to me and said some strange words like this “ I love you truly. ” • She took me to the elf’s cave, she began to wept and sighed painfully. I closed her wild eyes and console her with my kisses. • She calmed me and let me fell asleep. While sleeping, I had a terrible dream, on the cold hill side. • In the dream, I saw a kings and a princes, they told me with their deadly pale face “oh, you are in the controlled of La Belle Dame sans Merci” • And I saw their starved lips telling me the horrid warning. Then I woke, and you found me here, on the cold hill’s side. • And this is the reason I stay in here, roaming here longing and palely. Though the reed has withered from the lake, and there’s no birds’ singing.

Vocabulary • 1. Knight’s description Knight—a man given a rank of honor by a British king or queen because of his special achievements, and who has the right to be called “Sir”, or (in the past) a man of high social position trained to fight as a soldier on a horse. EG. He hopes to be made a knight for his work at the Bank of England. knights in black armor. 2. Arms—weapons and equipment used to kill and injure people. 3. Fever—a state of great excitement. EG. The whole country seems to be in the grip of football fever. 4. Moist—slightly wet, especially in a good way.

EG. The path was moist with dew. 5. Woe—extreme sadness. EG. Her face was lined and full of woe. 6. Begone—go away; exclamation OLD USE OR LITERARY EG. ‘Begone!’ he shouted. “And never let me see you again. ” 7. Woe betide—said when there will be trouble for someone, or they will be punished, if they do a particular thing. EG. This is the second tome he’s been sent home from school this week, so woe betide him if it happens again. 8. Haggard—looking ill or tired, often with dark skin under the eyes. EG. He’d been drinking the night before and was looking a bit haggard. 9. Wither—to cause, to become weak and dry and decay.

EG. Grass had withered in the fields. 10. Gloam—gloom, twilight 11. Ail—to cause difficulty and problems for. EG. The government seems to have no understanding of what ails the country. 12. Loiter—to move slowly around or stand especially in a public place without an obvious reason. EG. A gang of youths were loitering outside the cinema. 13. Sojourn—a short period when a person stays in a particular place. EG. My sojourn in the youth hostel was thankfully short. 14. Thrall—slave. EG. He’s the thrall of worldly wealth.

• 1. Fairy’s description Faery—an imaginary creature with magical powers, usually represented as a very small person with wings. EG. She used to think there were fairies at the bottom of her garden. 2. Moan—to make a long low sound of pain, suffering or another strong emotion. EG. He moaned with pain before losing consciousness. 3. Sore—painful and uncomfortable because of injury. EG. All the dust has made my eyes sore. 4. Relish—the enjoyment you get from doing something. EG. I have no relish for hunting and killing animals. 5. Manna—(in the Bible) a food which dropped from heaven and prevented Moses and his people from dying of hunger in the desert.

• Other words 1. warrior—a soldier, usually one who has both experience and skill in fighting, especially in the past. 2. Steed– a large strong horse used for riding. [LITERARY] 3. Squirrel—a small animal with a long furry tail. EG. Squirrels live mainly in trees. 4. Granary—a large building for storing wheat or other similar crops. 5. Elf—a small person with pointed ears who has magic powers in children’s stories. 6. Grot—grotto, cave. EG. Water trickles through an underground grot.

Diction. 1. sedge & birds, squirrel’s granary & the harvest(1&2 stanzas)---- the natural setting could attribute our imagination of the knight much more. 2. lily & rose (3 stanza)------ “By this absorption of the knight into the structural pattern of the natural imagery, the movement from a suggested but unstated relationship of man and nature in stanza one to an implied interrelationship in stanza two has now been completed. ” Fading rose present in knight’s countenance, they are interchangeable, and that makes the symbol more vivid. 1. 3. fragrant zone & a faery’s song & language strange(5. 6. 7 stanzas)---- “ What Keats has woven into the narrative, it appears, is another version of the pleasure thermometer, a series of increasing intensities that absorb the self into essence: nature, song, and love. ” To emphasize the knight’s surprising meet, the author uses the magical words to describe what happened. 1.

4. wild (4. 7. 8 stanzas) The word in the poem is used four times to describe the beautiful lady and impress us the magical power of her. 5. elfin grot (8 stanza)-- The vision is real thing originally, but it is totally changed into an ethereal thing here. 6. cold hill side(9 stanza)---- The word "cold"(36) implies the sinister reality which the knight faces. Because hills are often where the fairies and elves live, it will give us a better room of imagination. 7. warrior & kings and princes (10 stanza) --- Warriors mean the world’s ills and kings and princes mean men of power. “ The knight’s inherent weakness in being unable to exclude from his visions the self-contained and world-bound mortality dissipates the ideal into which he has entered momentarily, just as the need for the world of men and desire to materialize the ideal destroy the fairyland. ” “By withdrawing from the elfin grot, the knight has become a Man of Power; the withdrawal is the act of reassuming his own self-containing identity,

8. sojourn ( 12 stanza) The knight uses the word "sojourn, " which implies he will be there or some time. • http: //www. kobe-c. ac. jp/~watanabe/seminar/1998/top • M. H. Abrams, ed. English Romantic Poets, Oxford University Press, 1970.

Speaker and listener v 1 st part: from stanza 1 to stanza 3. Speaker: In the first three stanzas, the speaker is the questioner(narrator) with a concerning tone. He is a stranger, we don’t know his age, sex… Function: The questioner wondered what had caused the knight so palely and wandering no purposely, and described the knight’s physical condition(“Alone and palely loitering”) and his emotional state (haggard, and woe-begone). And he also points out the season-winter, from “The sedge has withered from the lake, And no birds sing…The squirrel’s granary is full, And the harvest’s done…)it gave us the an impression of loneliness. The function of this part is to rouse readers’ curiosity that why and how this event had happened and then bring out the story. Listener: knight

• 2 nd part: from stanza 4 to stanza 12. Speaker: The knight Function: To tell the whole event between he and the lady. From his tone, we can see he is not frightened by his terrible future. Stanzas 4 -8, he speaks with a joyful tone and shows the details, which reveals his strong affection to the lady. But from stanza 911, here he meets the king, princes and warriors in his nightmare, and the atmosphere was mysterious and dark. “ And I awoke and found me here, On the cold hill’s side”. The quote itself actually shows how Keats brings out a cold feel to the poem at this point, which is ironic when we like to associate cold temperatures with loss. He was lost and becomes confused and worried; he knows he will be like them, for his love for the lady. But eventually, from the last stanza, he accepts his destiny, and he does not regret falling in love with the lady. Listener: The narrator

Structure • The poem can be divided into two parts. • The first part: from stanza one to three. § The questions of the stranger to the knight. § The work of the first three stanzas is to make the symbols a living part of that reality; in other words, there suggests a connection between men and nature. • The second part: from stanza four to twelve. § The knight’s reply to the stranger. § From stanza 4 -12, there introduce nine precisely balanced stanzas containing the main narrative. The progress of the knight in the first four stanzas (4 -7) comes to the central one (8) when he is taking into the elfin grot, and in the last four stanzas (9 -12), he withdraws from the grot. • M. H. Abrams, ed. English Romantic Poets, Oxford University Press, 1970.

Special Patterns • • The first two stanzas have identical patterns: the first half of each addresses a question to the knight-atarms about his spiritual condition; and the second half comments on the natural setting. Also, the first pair (sedge and birds) are the natural images themselves; the second pair (the squirrel’s granary and the harvest) are the materials of nature. Two pairs of adjectives in the halves describe the knight, the first pair exactly paralleling the natural image: alone, no birds sing; palely loitering, the sedge has withered. All these balanced details, equally distributed to nature and the knight, then combine in the third stanza.

• The completion of the circular movement was marked by the fact that the last stanza echoes the first stanza and answers the stranger’s questions in the introductory three stanzas and brings the poem round full circle, so that the final stanza may be an approximate repetition of the first. • The meaningfully balanced patterns: within this main narrative (4 -12) the action is perfectly pivoted on the central stanza (8), the narrative, the symbols, and the grammatical controls symmetrically rising to and falling away from this central point. the forst three stanzas(1 -3) and the last three stanzas (10 -12) are prologue and epilogue, the central six stanzas (4 -9) being perfectly balanced by the distribution of the opening patterns. M. H. Abrams, ed. English Romantic Poets, Oxford University Press, 1970

Metaphor • Stanza 3: lily, anguish moist, fever dew, and a fading rose. § Lily means paleness and fading rose implies the knight’s pang. § Moist and dew both show the anguish which the knight suffers. § all the nouns can make us imagine the knight’s haggard look.

Contrast • Stanza 1 -2: The sedge has withered from the lake/ And no birds sing The squirrel’s granary is full/ And the harvest’s done. →The knight is in an infertile spot, where the reed has become lifeless; however, the squirrel’s winter storage is full and the harvest has been completed. Here contrasts two views of life.

Imagery • Stanza 1 -2: O, what can ail thee, knight-at-arms, ~And the harvest’s done. → The knight’s haggard look is shown by the questioner’s asking and description. • Stanza 4, 8: And her eyes were wild. And there I shut her wild eyes →Wildness of eyes is not usually used to describe a lady. It seems that the lady has some mysterious power to charm men, especially by her wild eyes. →when we shed tears, we show sorrowful or joyful looks, but we do not usually have wildness in our eyes. This kind of expression in her eyes is no like a human being, so the lady is thought to be an non-mortal.

• Stanza 7: honey wild, manna dew. And sure in language strange she said → This kind of food is not easily got by human, so the lady is probably a mysterious creature– a fairy. • Stanza 11: I saw their starved lips in the gloam, → The kings’ and princes’ starved appearances seem to predict how dreadful and miserable the knight’s future will be.

Romanticism • The Romantic period in English literature is considered from the mid 1780 s to the mid-1820. There are two generations in the Romantic movement. The first generation included William Blake and William Wordsworth. And the most important and influential poets of the second generation are Lord Byron, Percy Bysshe Shelly and John Keats. Besides, the Romantic movement arose mainly because of the French Revolution. The effect of the revolution was extraordinary. At that time, the whole social world is under a unsteady condition. So, there are very important common interests and concerns cared by the poets.

The writing style of the poets are unique. Keats associated poems with dreaming. Moreover, some traits of Romanticism we can find in Keats’ poem are that there are fascination of nature, wandering, and the sickness as opposed to health. Also, emotionalism is the trait of the poem, and it means there is feeling expressed, not reason. What’s more, the poem was written in antique forms. He used his imagination, tried to elicit the atmosphere of ancient times. And there came a medieval type poem. *陳鉊鵬, 濟慈和芳妮的心聲 *Kelvin Everest, English Romantic Poetry

Ballad • Ballad is a poem (song) that tells a simple story and every detail and every connotation must be carefully considered. Besides, In this poem, why they acted as described is never discussed because it is also a characteristic of Ballads. • Ballads are written in four line stanzas, and often the second and fourth lines rhyme. * James Taaffe, Reading English Poetry * Roland Gant, A Book of Ballads

Conclusion The poem generates a kind of mysterious atmosphere, what happened we can not figure out clearly. It seems a love affair going to happen, but suddenly, it falls into the pain and deathly pale. The knight in his lifeless accountancies, roaming around and purposeless, as a “knight-at-arms”, he should like a “real man”, be strong or take responsibility of protection or to fight enemy. The image is he lost. He ever tasted the joy of falling love, then the dream, the prediction reveal the truth, the fairy’s cruel magic, and he was in her control. Who is the “la belle dame”? “what did she ever do to knight? Or others? ” that is ambiguous. The poem makes us feel the deeper power under the love affair, something destructive, or frighten.

Work Cited • http: //www. nouveaunet. com/prbpassion/supemat 1. cfm • http: //academic. brooklyn. cuny. edu/english/melani/ cs 6/belle. html • http: //www. pathguy. com/Ibdsm. htm • http: //www. kobec. ac. jp/~watanabe/seminar/1998/yamamura. htm • http: //members. truepath. com/onegirlarmy/Ibdsm. h tml • http: //www. denison. edu/~hafiz_d/english 214 paper 2. htm