Romantic Poetry William Blake John Keats and Percy

Romantic Poetry William Blake, John Keats and Percy Bysshe Shelley

B G Topic 1 Sonnets on Love: How do I Love Thee; Shall I compare thee hall 2 MP: Jane Austen’s World: Social Values and Customs 309 8 Donne “The Flea”; "Valediction: Forbidden Mourning" (1085) 205 4 MP. 24 -31 Henry's Wooing of Fanny 204 5 "Ulysses" and" Ulysses Embroidered" about lagendary epic and reality. B Courting Sonnet in Romeo and Juliet & “To His Coy Mistress” 7 hall 9 My Last Duchess—and “Ozymandias” 309 3 MP: Sotherton Episode & Family Theatrical 205 6 "Ode On a Grecian Urn" and "To Autumn" 204 10 MP: Intro and Ending

Quest & Bildungsroman Story of Quest Bildungsroman • Originated in epic • Story of growth, coming of [Odyssey] & Arthurian age, involving different legends [quest for the holy stages such as childhood, grail]. youth and maturity (longer • Basic elements: a hero in an than “story of initiation) adventure or journey for a • Before 19 th century: grand cause, overcoming picaresque novel (episodic) obstacles • Victorian bildungsroman: • Romantic Quest: for more dramatic and usu. an Freedom, Vision & orphan (see more here) Imagination

Mansfield Park as a Bildungsroman but not a Quest Story Not a Quest • She does not go out to pursue her goal, though she has her desire and keen judgment Victorian Bildungsroman • social mobility: How does she grow and develop? Fanny's appreciation of nature: "Every time I come into this shrubbery I am more struck • social constraints: What are the social factors that shape with its growth and beauty. Three years ago, this was nothing but a rough her? Does she grow beyond hedgerow along the upper side of the her social constraints or get field, . . . and perhaps in another three years into her society? we may be forgetting—almost forgetting what it was before. How wonderful, how very wonderful the operations of time, and the changes of the human mind!" (22; II: 4 )

Fanny's Romantic Sentiments • 1) Expects to the chapel (at Sotherton) to be gothic and melancholic 2) (with Mary) "You will think me rhapsodizing; but when I am out of doors, especially when I am sitting out of doors, I am very apt to get into this sort of wondering strain. One cannot fix one's eyes on the commonest natural production without finding food for a rambling fancy. " (22; II: 4 )

The Romantics (BBC documentary) Liberty opening; 22 Blake; Nature opening /Blake's vision/Chemney Sweeper Eternity Opening; Shelley 20: 00; Byron 29: 45; Keats 39: 15 The Romantic Poetry 35: 40 Keats 55: 15 Ozymandias Wanderer above the Sea of Fog (Nebelmeer: Fog-Sea) Caspar David Friedrich (1818), (source)

April 19, 1824 was for Tennyson ‘a day when the whole world seemed to be darkened for me’. On a rock, close to his home, he carved the words ‘Byron is dead. ’ (Cronin 105)

The Romantics: The Big Six • William Blake (17571827) • Samuel Taylor Coleridge (1772 -1834) • Willliam Wordsworth (1770 -1850) • John Keats (1795 -1821) -- died at the age of 25 • Percy Bysshe Shelley (1792 -1822) -- died at the age of 29 • Lord Byron (1788 -1824) –age 36 Mary Shelley 30 August 1797 – 1 February 1851) Emily Bronte 1818 -1848 Charlotte Bronte 1816 -1855

Romanticism vs. Victorianism Romanticism Victorianism Nature & Human nature Belief in Progress and Industrial Revolution Emphasis on emotion/individualism Social Earnestness and Respectability Romantic Poets and Hero Victorian Novelists as Moralists Victorian Poetry “Feminized”

Romantic Age First Generation: The emphasis on • Idealism & Quest – Nature and correspondence between Nature and human nature; Wordsworth (also US – Whitman, Dickinson) – Common people—Wordsworth, Blake (“The Chimney Sweeper”) – “Natural Supernaturalism” –Coleridge and Blake: Art (“Tiger”), Imagination & Vision (“Kubla Khan” “The Rime of Ancient Mariner”) • Feeling (“spontaneous overflow of powerful feeling” “emotion recollected in tranquility”) • Individualism (e. g. “I Wandered Lonely as a Cloud” and “Sick Rose”)

Romantic Age 2 nd Generation: The emphasis on – Feeling – Art & Imagination (e. g. “Ode on a Grecian Urn”) & Vision – Individualism & Quest for the remote (myth) – Breaking down more boundaries (e. g. the sensual, the moral); – against authority (“Ozymandias”)

Victorian Poetry More dramatic, less visionary—sometimes sadder • Influenced by the Romantics (& their interest in Quest), but there is usually a conflict between their need for conveying personal emotions and their sense of social responsibility (educational) —esp in Tennyson. • Influenced by the popularity of novels at the time dramatic monologue and narrative poems • [Late Victorians: satire, pessimism, art for art's sake – the Pre-Raphaelites, Thomas Hardy, Matthew Arnold and Bernard Shaw]

Outline • • Group Discussion William Blake 1) “The Chimney Sweeper” (another ppt) John Keats & the odes 2) “Ode on a Grecian Urn” 3) “To Autumn” 4) Shelley “Ozymandias” Notes Keats “Bright Star”; Lord Byron: “She Walks in Beauty” (for reference)

Group Work 1 -2) “The Chimney Sweeper” • Fill in the blanks, read and explain the tone & the stanza structure • 1) Innocence; 2) Experience 3 -5) Ode on a Grecian Urn • 3) Fill in the blanks, read and explain their meanings • 4) the 5 -stanza structure, use of repetition, direct Address, and Q&A Form • 5) the last stanza and the ending 6 -7 -8) “To Autumn” 9 -10) “Ozymandias” • 6) Stanza 1: Circle all the alliterations and metaphors, read & explain • 7) Stanza 2: Circle all the alliterations and metaphors, read & explain • 8) Explain stanza 3, the 3 -stanza structure and forms of address (to Autumn) • 9) Fill in the blanks, read and explain the sound effects (3) • 10) Sonnet structure and frame device (2)

John Keats (1795– 1821) Norton See Bio below 15

John Keats • October 31, 1795 -February 23, 1821; died at the age of 25 of tuberculosis. Published only 54 poems. • Originally a surgeon (apothecarysurgeon) and changed his mind in 1813 -1814. • Literary Creation: 1816 – 1821 [love with Fanny Brawne 1818 - the odes 1819] w/ problems of poverty • 1820 –symptoms of TB; • 1821 -- "Here lies one whose name was writ in water. " • Major Ideas: Life as “the Vale of soulmaking. ” Shakespeare with “negative capability” (like a chameleon變色龍— imaginative identification with the other).

Keats’ Great Odes 1. 2. “Ode to Psyche” “Ode on a Grecian Urn” 3. “Ode to a Nightingale” --art 5. “Ode on Indolence” 6. 'To Autumn‘ • 4. “Ode on Melancholy” She dwells with Beauty—Beauty that must die; And Joy, whose hand is ever at his lips Bidding adieu and aching Pleasure nigh, Turning to poison while the bee-mouth sips… • Journey to (or Quest for) artistic eternity and transcendence and return to the mortal world

Ode on a Grecian Urn Norton See definition of Ode below 18

Odes • • • Lengthy Serious in subject matter Elevated in its word choice and style Elaborate structure in stanzas The Horatian ode - “To Autumn” – uniform stanzas – same metrical pattern – more personal, meditative, & restrained

Ode on a Grecian Urn 1. Pay attention to a) the form of address (apostrophe) and the object of address in different stanzas, which imply the speaker’s different relations with the urn; 2. Pay attention to the use of metaphors in calling/describing the urn; 3. The two sides of the urn: their differences and similarities 4. The closing lines—how to interpret them.

Blue—metaphor; red– sound Underline-- rhetoric skills: questions STANZA I Thou still unravish'd bride of quietness, Thou foster-child of silence and slow time, Sylvan historian, who canst thus express A flowery tale more sweetly than our rhyme: What leaf-fring'd legend haunts about thy shape Of deities or mortals, or of both, In Tempe or the dales of Arcady? (1) What men or gods are these? What maidens loth? What mad pursuit? What struggle to escape? What pipes and timbrels? What wild ecstasy?

Blue—metaphor; Red – sound Underline-- rhetoric skills: Imperative, concession, repetition STANZA II Heard melodies are sweet, but those unheard Are sweeter; therefore, ye soft pipes, play on; Not to the sensual ear, but, more endear'd, Pipe to the spirit ditties of no tone: Fair youth, beneath the trees, thou canst not leave Thy song, nor ever can those trees be bare; Bold Lover, never canst thou kiss, Though winning near the goal--yet, do not grieve; She cannot fade, though thou hast not thy bliss, For ever wilt thou love, and she be fair!

Blue—metaphor; Orange – sound Underline-- rhetoric skills: Exclamation; repetition STANZA III Ah, happy boughs! that cannot shed Your leaves, nor ever bid the Spring adieu; And, happy melodist, unwearied, For ever piping songs for ever new; More happy love! more happy, happy love! For ever warm and still to be enjoy'd, For ever panting, and for ever young; All breathing human passion far above, That leaves a heart high-sorrowful and cloy'd, A burning forehead, and a parching tongue.

Blue—subjects; Orange – sound Underline-- rhetoric skills: Exclamation; repetition STANZA IV Who are these coming to the sacrifice? To what green altar, O mysterious priest, Lead'st thou that heifer lowing at the skies, And all her silken flanks with garlands drest? What little town by river or sea shore, Or mountain-built with peaceful citadel, Is emptied of this folk, this pious morn? And, little town, thy streets for evermore Will silent be; and not a soul to tell Why thou art desolate, can e'er return.

Blue—metaphor; Orange – sound Underline-- rhetoric skills: Exclamation; repetition STANZA V O Attic shape! Fair attitude! with brede Of marble men and maidens overwrought, With forest branches and the trodden weed; Thou, silent form, dost tease us out of thought As doth eternity: Cold Pastoral! When old age shall this generation waste, Thou shalt remain, in midst of other woe Than ours, a friend to man, to whom thou say'st, "Beauty is truth, truth beauty, "--that is all Ye know on earth, and all ye need to know.

Ode on a Grecian Urn 1. Using apostrophe to speak to the Urn in order to enter its realm (the realm of art and permanence); 2. The process: question empathy confirmation differentiation between the human and the artistic.

Ode on a Grecian Urn 1. Using apostrophe to address and speak to the Urn in order to “enter” its realm (the realm of art and permanence); • The Emphathic（神入� /Ekphrastic (讀畫／藝術作 品) Process: 1) approach: question understanding confirmation 2) differentiation between the human and the artistic – A Creative Process: * After all, the urn is just an ancient utensil; Keats creates its “artistic” meanings by teasing out the dualities between time and timelessness/frozen moments, sound and silence, thinking and thoughtlessness, the static and the eternal.

Note (1) • Tempe and Arcady: considered as heavenly paradise in Greece, frequently mentioned in pastoral poems; symbol of artistic realm. • Sylvan – of the forest; shady

Note (2) • Ekphrasis: poetic writing concerning itself with the visual arts, artistic objects, and/or highly visual scenes (source) • Examples: “Musee des beaux arts” “Ozymandias” “My Last Duchess” • Issues: – art and life; – different languages of art (an inter-art approach): temporal/kinetic arts (verbal, filmic) art vs. static (visual vs. plastic) – Possibilities of re-creation with different messages.

Ode on a Grecian Urn as an Ekphrastic poem • Keats first appreciates the values of plastic art which eternalizes one (frozen) moment; • With the reading of the funeral procession, he places it back to the temporal flow. • There is then a contrast between the urn’s beauty and truth, and those of humans’ mortal world.

To Autumn: Questions for Discussion • What stage of autumn is described in each stanza? What images are associated with each stage? • What qualities described here associated in other Keats poems with the world of imagination? • Compare this poem with “The Grecian Urn. How would you describe the tone of each? 31

Growing Fruits To Autumn 1. SEASON of mists and mellow fruitfulness, Close bosom-friend of the maturing sun; Conspiring with him how to load and bless With fruit the vines that round the thatch-eves run; To bend with apples the moss’d cottage-trees, And fill all fruit with ripeness to the core; To swell the gourd, and plump the hazel shells With a sweet kernel; to set budding more, And still more, later flowers for the bees, Until they think warm days will never cease, For Summer has o’er-brimm’d their clammy cells.

Harvesting 2. 　 　Who hath not seen thee oft amid thy store? 　 Sometimes whoever seeks abroad may find 　Thee sitting careless on a granary floor, 　 　 Thy hair soft-lifted by the winnowing wind; 　 　Or on a half-reaped furrow sound asleep, 　 　 Drowsed with the fume of poppies, while thy hook 　 Spares the next swath and all its twinéd flowers: 　And sometimes like a gleaner thou dost keep 　 　 Steady thy laden head across a brook; 　 Or by a cyder-press, with patient look, 　 　 Thou watchest the last oozings hours by hours.

Music (of transience & departure) 3. Where are the songs of Spring? Ay, where are they? Think not of them, thou hast thy music too, — While barred clouds bloom the soft-dying day, And touch the stubble plains with rosy hue; Then in a wailful choir the small gnats mourn Among the river sallows, borne aloft Or sinking as the light wind lives or dies; And full-grown lambs loud bleat from hilly bourn; Hedge-crickets sing; and now with treble soft The red-breast whistles from a garden-croft; And gathering swallows twitter in the skies.

Stanza 1: Paraphrased • Metaphors of the autumn: “close bosom-friend of the maturing sun, ” “Season of mists and mellow fruitfulness” • “him” the sun • “bless with fruit the vines that round the thatch-eves run ” bless the vines that run round the thatch-eves with fruit • “load and bless”: Autumn and the sun not only load but also bless the vines with fruit. The effects of using the word bless may include autumn’s benediction over the ripening of the fruits and its power to enrich the fertility of nature. • “To bend with apples the moss’d cottage-trees” To bend the moss’d cottage-trees with apples The apples become so numerous that their weight bends the trees. • “to set budding more ”: -ing form suggests activity that is continuing • “And still more ” suggests the mushrooming of flowers • Use of flashback : line 9 - line 11(cause and effect are reversed)

Stanza 2 • Autumn: lax or resting; the stage of slowing down; personification of autumn as a reaper or a harvester • “sound asleep, ” “Drows'd ” Autumn is listless and even falls asleep • “Thou watchest the last oozings hours by hours ”: The end of the cycle is near. The squeezing of the apple cider is nearly finished (“the last oozings”)

Stanza 3: the beauty of autumn • Keats blends living and dying, the pleasant and the unpleasant, because they are crucial elements of the mixed nature. • Mention of “spring”: 1. representing process; the proceeding flow of time (like the “summer” in stanza 1) 2. Spring is a time of rebirth of life which contrasts with the seemingly dying autumn of stanza 3. • “the soft-dying day”: Its dying also creates beauty (as the following lines present) • “While barred clouds bloom the soft-dying day, And touch the stubble-plains with rosy hue ”: the setting sun casts a “bloom” of “rosy hue” over the stubble left after the harvest • “And full-grown lambs loud bleat from hilly bourn”: sheep will be slaughtered in autumn (Note: why is Keats using the term “lambs” rather than “sheep”? ) • “And gathering swallows twitter in the skies”: The swallows are gathering for their winter migration suggesting that the autumn will cease

Letter to J. H. Reynolds • Keats wrote a letter to his friend J. H. Reynolds after he wrote "To Autumn. " • “How beautiful the season is now -- How fine the air. A temperate sharpness about it. Really, without joking, chaste weather -- Dian skies -- I never lik'd stubble-fields so much as now -- Aye better than the chilly green of the Spring. Somehow a stubble plain looks warm -- in the same way that some pictures look warm -- This struck me so much in my Sunday's walk that I composed upon it. “

Images: Stanza 1 • Season of mists and mellow fruitfulness, ”&“Close bosomfriend of the maturing sun”) • Personification • Besides maturing sun, other words and phrases that suggest maturity And fill all fruit with ripeness to the core; To swell the gourd, and plump the hazel shells

Images: Stanza 1 • • • A repetitive listing of ripening indicates that Keats might designed it on purpose—to show the bountifulness of autumn Autumn and the sun not only load but also bless the vines with fruit. the effects of using the word bless at the end of the stanza, Autumn and the sun make so many flowers bud late in the season that the bees have become confused (Until they think warm days will never cease, For Summer has o'er-brimm'd their clammy cells. )

Images: Stanza 2 • • • “harvested grain, a partially harvested field, apples being pressed to make cider” the countryside during autumn “sitting careless; sound asleep; Drows'd; keep / Steady; with patient look” Autumn at rest Autumn watching over the work

Images: Stanza 3 • “the soft-dying day, ”“mourn, ” “sinking, ” “dies, ” words and phrases that suggest death or dying Indicates that “Autumn is leaving”

Images: Stanza 3 • Autumn's music: of birds and insects • Then in a wailful choir the small gnats mourn” “And full-grown lambs loud bleat from hilly bourn; ” “Hedge-crickets sing; and now with treble soft” “The red-breast whistles from a garden-croft” “And gathering swallows twitter in the skies”

• Images: Stanza 3 “And full-grown lambs bleat from hilly bourne; ” –between lamb and sheep “Hedge-crickets sing; ” “And gathering swallows twitter in the skies. ” connotations of transition and departure

Structure Grecian Urn --> The timelessness of the urn --> Ideal v. s. Real (canst not leave… nor ever can… never, never…) --> Greater passions depicted on the urn --> Looks at the urn from without; imaginations --> Addresses the urn and speaks to it as an observer --> Conclusion: beauty v. s. truth To Autumn --> Ripeness of the harvest --> Laziness of the Autumn --> Imageries of death and passing.

Tone Grecian Urn • Apostrophe - direct address (18) • Many questions • Theoretical questions and statements To Autumn • Apostrophe - aids in the imagery (8) • More descriptions, less questions • Retrospective, calm, reflective, unhurried What mad pursuit? What struggle to escape? ‘Beauty is truth, truth beauty’ Thee sitting careless on a granary floor, / Thy hair soft-lifted by the winnowing wind;

Different Perspectives on Mortality To Autumn Grecian Urn • Narrator is emotionally involved in the narration • There is a constant question on art and life, reality and imagination • Speaks to the urn and asks for a response Bold Lover, never canst thou kiss Though winning near the goal -- yet, do not grieve; • • Narrator is less emotionally involved, but is very observant Does not flee from the reality Appreciates Nature as it is Narrator contemplates a lot (speaks to himself) Where are the songs of Spring? Ay, where are they? and now with treble soft The red-breast whistles from a garden-croft; And gathering swallows twitter in the skies.

Concluding Questions 1. Are the speakers’ questions resolved in the poems? If not, what are the effects of these unanswered questions? 2. How do the speakers approach the complexities and mysteries of life, art, and nature? 3. Do art and nature really offer us more than our perception of reality? Or are we the ones defining the meaning of art and nature?

Sources • Newman Library http: //newman. baruch. cuny. edu/digital/2000/c_n_c/c_07 _romanticism/reading_keats. htm • Brooklyn College http: //academic. brooklyn. cuny. edu/english/melani/cs 6/au tumn. html

Percy Bysshe Shelley • A radical thinker and pronounced atheist • Supporter of free love • Eloped first with Harriet, and then with Mary Godwin Shelley (as well as her step-sister, when both were 16). • Set up a “radical community of friends” who shared everything with one another. • Two family suicides (one of Harriet, the other Mary’s half sister) • 1816 -- Frankenstein by Mary S. • 1818 -- Ozymandias • 1819 -- Ode to the West Wind • 1821 -- drowned at sea, aged 29.

Ozymandias –Starting Questions • Main Idea and Ironies? – How is Ozymandias described? • The poem’s form? – an Italian sonnet (octave + sestet). – Narrative frame: the use of the narrator A music video by Jonny. Darbon http: //www. youtube. com/watch? v=t. We 1 ZH TRSt. I

Ozymandias (Rhyme: ABAB ACDC EDEFEF). I met a traveller from an antique land, Who said--"Two vast and trunkless legs of stone Stand in the desert. . Near them, on the sand, Half sunk a shattered visage lies, whose frown, And wrinkled lip, and sneer of cold command, Tell that its sculptor well those passions read Which yet survive, stamped on these lifeless things, The hand that mocked them, and the heart that fed; And on the pedestal, these words appear: My name is Ozymandias, King of Kings, Look on my Works, ye Mighty, and despair! Nothing beside remains. Round the decay Of that colossal wreck, boundless and bare The lone and level sands stretch far away. " image

Ozymandias • The use of frames: the traveler’s story • Contradictions used to present the ironies of human ambition: – shatter visage frown and sneer; – Passion on “these lifeless things” survives “the hand” and “the heart” (whose heart? ) – “colossal” wreck –boundless sand.

The narrative frames the effect of distantiation • “Survival” and death: Lives: the other kings his heart and the sculptor’s hand Ozymandias passions on the sculpture + lifeless sculpture sand traveler I the Poem –the one that survives

Ozymandias: Historical Context (1) • Its title: Ramesses the Great (i. e. , Ramesses II), Pharaoh of the Nineteenth dynasty of ancient Egypt. Ozymandias – the Greek version of his throne name. • The inscription on the pedestal of his statue: "King of Kings am I, Osymandias. If anyone would know how great I am and where I lie, let him surpass one of my works. " (image and info source) • Shelley’s reading: wrinkled lip …

Ramesses II Front view of the temple of Ramesses II in Abu Simbel, Egypt

Ozymandias: Historical Context (2) • The poem: Written in 1817, three years after the Waterloo in 1815 (which brought Napoleon's conquest to a stop). (source) • Shelley’s other poem: “Ode to the West Wind” • What inspired the poem: The 'Younger Memnon' statue of Ramesses II in the British Museum an example of British colonialism

Reference "Bright Star" & "She Walks in Beauty"

“Bright Star” Bright star, would I were stedfast as thou art— Not in lone splendour hung aloft the night And watching, with eternal lids apart, hermit Like nature's patient, sleepless Eremite, The moving waters at their priestlike task Of pure ablution round earth's human shores, cleansing Or gazing on the new soft-fallen mask gazing Of snow upon the mountains and the moors No—yet still stedfast, still unchangeable, Pillow'd upon my fair love's ripening breast, To feel for ever its soft fall and swell, Awake for ever in a sweet unrest, Still, still to hear her tender-taken breath, And so live ever—or else swoon to death. Cosmic, religious

“Bright Star” 1. Paradoxes? Between steadfastness and mortality (unrest, fall and swell, death) No, yet still stedfast, still unchangeable, Pillow'd upon my fair love's ripening breast, To feel for ever its soft fall and swell, Awake for ever in a sweet unrest, Still, still to hear her tender-taken breath, And so live ever—or else swoon to death. 2. Poetic Form? abab, cdcd, efgfhh Between Shakespearean (rhyme) and Italian sonnet (form)

“Bright Star” In Context (1) • The poem was written by Keats in 1819 and revised it in 1820, perhaps on the (final) voyage to Italy (a common treatment for tuberculosis, a trip to Italy). • Keats was aware that he was dying. Some critics have theorized that this poem was addressed to his fiance, Fanny Brawne, and connect the poem to his May 3, 1818 letter to her.

Ode on Melancholy (1819) She [Melancholy] dwells with Beauty— Beauty that must die; And Joy, whose hand is ever at his lips Bidding adieu; and aching Pleasure nigh, Turning to poison while the bee-mouth sips

The Film Bright Star • • • Bright Star – opening; 6: 00 first meeting 51: 45 – Both inspired -“Nightingale” 1: 11 - Reunion -- “Bright Star” (01: 22 -- La Belle Dame Sans Merci ) 1: 37 “It’s time for us to say goodbyes” – “I can do anything” • 01: 40 --Let's pretend I will return in spring. • Ending 1: 52

Lord Byron • See the video • Born with a clubfoot • Child Harold – the disparity between Romantic ideals and reality • Involved in affairs with a married woman and his half sister. portrait of Lord Byron in Albanian dress by Thomas Phillips, c 1835 (source)

SHE WALKS IN BEAUTY 1. How is “she” described? With what images (of contradictions)? What does beauty means? And “walk”? 2. How do the sound effects help convey the meanings of the poem?

SHE WALKS IN BEAUTY, like the night Of cloudless climes and starry skies; And all that's best of dark and bright Meet in her aspect and her eyes; Thus mellow'd to that tender light Which heaven to gaudy day denies. Song: http: //www. youtube. com/watch? v=Vx. Zvgp 14 MFc (Vanity Fair: opening ) Reading: http: //www. youtube. com/watch? v=e 8 kwvhs. T 850

SHE WALKS IN BEAUTY One shade the more, one ray the less, Had half impair'd the nameless grace, Which waves in every raven tress, Or softly lightens o'er her face; Where thoughts serenely sweet express, How pure, how dear their dwellingplace.

SHE WALKS IN BEAUTY And on that cheek, and o'er that brow, So soft, so calm, yet eloquent, The smiles that win, the tints that glow, But tell of days in goodness spent, A mind at peace at all below, A heart whose love is innocent !

SHE WALKS IN BEAUTY she – sheds ‘tender’ light (combines darkness and light//aspect and eyes//appearance, heart and thought. ) -- grace in motion on her dress and her face, and expressive of her pure mind and thought. -- cheeks and smile glow to reveal her goodness, mind and heart. rhythm: iambs with one trochee Sounds: [m] [s] [o] [e]