Romantic%20Poetry

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Romantic Poetry

• William Blake, John Keats and Percy Bysshe Shelley

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G Topic
B 1 Sonnets on Love How do I Love Thee Shall I compare thee
hall 2 MP Jane Austens 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 7 Courting Sonnet in Romeo and Juliet To His Coy Mistress
hall 9 My Last Duchessand Ozymandias
309 3 MP Sotherton Episode Family Theatrical
205 6 "Ode On a Grecian Urn" and "To Autumn" 
204 10 MP Intro and Ending
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Quest Bildungsroman

• Bildungsroman

• Story of Quest

• Originated in epic Odyssey Arthurian legends
  quest for the holy grail.
• Basic elements a hero in an adventure or journey
  for a grand cause, overcoming obstacles
• Romantic Quest for Freedom, Vision Imagination

• Story of growth, coming of age, involving
  different stages such as childhood, youth and
  maturity (longer than story of initiation)
• Before 19th century picaresque novel (episodic)
• Victorian bildungsroman more dramatic and usu.
  an orphan (see more here)

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Mansfield Park as a Bildungsromanbut not a Quest
Story

• Victorian Bildungsroman

• Not a Quest

• She does not go out to pursue her goal, though
  she has her desire and keen judgment

• social mobility How does she grow and develop?
• social constraints What are the social factors
  that shape her? Does she grow beyond her social
  constraints or get fit into her society?

Fanny's appreciation of nature "Every time I
come into this shrubbery I am more struck with
its growth and beauty. Three years ago, this was
nothing but a rough hedgerow along the upper side
of the field,...and perhaps in another three
years we may be forgettingalmost forgetting what
it was before. How wonderful, how very wonderful
the operations of time, and the changes of the
human mind!" (22 II 4 )
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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 )
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The Romantics - (BBC documentary) Liberty
opening 22 Blake Nature opening /Blake's
vision/Chemney Sweeper Eternity Opening Shelley
2000 Byron 2945 Keats 3915 The Romantic
Poetry 3540 Keats 5515 Ozymandias
Wanderer above the Sea of Fog (Nebelmeer
Fog-Sea) Caspar David Friedrich (1818), (source)

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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)

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The Romantics The Big Six

• 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

• William Blake (1757-1827)
• Samuel Taylor Coleridge (1772-1834)
• Willliam Wordsworth (1770-1850)

Mary Shelley 30 August 1797 1 February 1851)
Emily Bronte 1818-1848 Charlotte Bronte
1816-1855
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Romanticism vs. Victorianism
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Romantic Age

• First Generation The emphasis on
• Idealism Quest
• Nature and correspondence between Nature and
  human nature Wordsworth (also US Whitman,
  Dickinson)
• Common peopleWordsworth, 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)

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Romantic Age

• 2nd 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)

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Victorian Poetry

• More dramatic, less visionarysometimes 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
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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)

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Group Work
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John Keats (17951821)
Norton See Bio below
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John Keats

• October 31, 1795-February 23, 1821 died at the
  age of 25 of tuberculosis . Published only 54
  poems.
• Originally a surgeon (apothecary-surgeon) 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 soul-making.
  Shakespeare with negative capability (like a
  chameleon???imaginative identification with the
  other).

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Keats Great Odes

• Ode to Psyche
• Ode on a Grecian Urn
• Ode to a Nightingale --art
• 5. Ode on Indolence
• 6. 'To Autumn

• 4. Ode on Melancholy
• She dwells with BeautyBeauty 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

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Ode on a Grecian Urn
Norton See definition of Ode below
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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

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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 speakers
   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 lineshow to interpret them.

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STANZA I
Bluemetaphor red sound Underline-- rhetoric
skills questions

• 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?

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STANZA II
Bluemetaphor Red sound Underline-- rhetoric
skills Imperative, concession, repetition

• 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, 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!

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STANZA III
Bluemetaphor Orange sound Underline--
rhetoric skills Exclamation repetition

• Ah, happy, 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.              

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STANZA IV
Bluesubjects Orange sound Underline--
rhetoric skills Exclamation repetition

• 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.

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STANZA V
Bluemetaphor Orange sound Underline--
rhetoric skills Exclamation repetition

• 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.

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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.

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Ode on a Grecian Urn

• Using apostrophe to address and speak to the Urn
  in order to enter its realm (the realm of art
  and permanence)
• The Emphathic(???/Ekphrastic (??/????) 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.

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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

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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.

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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 urns beauty
  and truth, and those of humans mortal world.

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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 are 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?

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To Autumn
Growing Fruits

• 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 mossd 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 oer-brimmd their clammy cells.

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2 .
Harvesting

• 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.

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3.
Music (of transience departure)

• 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.

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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
  autumns benediction over the ripening of the
  fruits and its power to enrich the fertility of
  nature.
• To bend with apples the mossd cottage-trees?
  To bend the mossd 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)

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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)

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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

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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.

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ImagesStanza 1

• Season of mists and mellow fruitfulness,Close
  bosom-friend 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

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ImagesStanza 1

• A repetitive listing of ripening indicates that
  Keats might designed it on purposeto 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.)

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ImagesStanza 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

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ImagesStanza 3

• the soft-dying day,mourn, sinking, dies,
• words and phrases that suggest death or dying
• Indicates that Autumn is leaving

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ImagesStanza 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

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ImagesStanza 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

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Structure

• Grecian Urn
• --gt The timelessness of the urn
• --gt Ideal v.s. Real (canst not leave nor ever
  can never, never)
• --gt Greater passions depicted on the urn
• --gt Looks at the urn from without imaginations
• --gt Addresses the urn and speaks to it as an
  observer
• --gt Conclusion beauty v.s. truth

• To Autumn
• --gt Ripeness of the harvest
• --gt Laziness of the Autumn
• --gt Imageries of death and passing.

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Tone

• Grecian Urn
• Apostrophe - direct address (18)
• Many questions
• Theoretical questions and statements
• What mad pursuit? What struggle to escape?
• Beauty is truth, truth beauty

• To Autumn
• Apostrophe - aids in the imagery (8)
• More descriptions, less questions
• Retrospective, calm, reflective, unhurried
• Thee sitting careless on a granary floor, / Thy
  hair soft-lifted by the winnowing wind

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Different Perspectives on Mortality

• 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, never canst thou kiss
• Though winning near the goal -- yet, do not
  grieve

• To Autumn
• 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.

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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?

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Sources

• Newman Library http//newman.baruch.cuny.edu/digit
  al/2000/c_n_c/c_07_romanticism/reading_keats.htm
• Brooklyn College http//academic.brooklyn.cuny.edu
  /english/melani/cs6/autumn.html

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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
  Marys half sister)
• 1816-- Frankenstein by Mary S.
• 1818 -- Ozymandias
• 1819 --  Ode to the West Wind
• 1821-- drowned at sea, aged 29.

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Ozymandias Starting Questions

• Main Idea and Ironies?
• How is Ozymandias described?
• The poems form?
• an Italian sonnet (octave sestet).
• Narrative frame the use of the narrator

A music video by JonnyDarbon http//www.youtube.c
om/watch?vtWe1ZHTRStI
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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
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Ozymandias

• The use of frames the travelers 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.

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The narrative frames?the effect of distantiation
I ? the Poem the one that survives

• Survival and death
• traveler

Lives the other kings
Ozymandias
his heart and the sculptors hand
passions on the sculpture lifeless sculpture
sand
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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)
• Shelleys reading wrinkled lip

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

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Reference

• "Bright Star"
• "She Walks in Beauty"

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Bright Star

• Bright star, would I were stedfast as thou
  artNot in lone splendour hung aloft the
  nightAnd watching, with eternal lids apart,Like
  nature's patient, sleepless Eremite,The moving
  waters at their priestlike taskOf pure ablution
  round earth's human shores,Or gazing on the new
  soft-fallen maskOf snow upon the mountains and
  the moorsNoyet 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 everor else swoon to death.

hermit
Cosmic, religious
cleansing
gazing
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Bright Star

• 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 everor else
  swoon to death.
• 2. Poetic Form?
• abab, cdcd, efgfhh
• Between Shakespearean (rhyme) and Italian sonnet
  (form)

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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.

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Ode on Melancholy (1819)

• She Melancholy dwells with BeautyBeauty
  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

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The Film Bright Star

• Bright Star opening
• 600 first meeting
• 5145 Both inspired -Nightingale
• 111 - Reunion -- Bright Star
• (0122 -- La Belle Dame Sans Merci )
• 137 Its time for us to say goodbyes I can
  do anything
• 0140 --Let's pretend I will return in spring.
• Ending 152

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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, c1835 (source)
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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?

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SHE WALKS IN BEAUTY

• 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?vVxZvgp14MFc
(Vanity Fair opening ) Reading
http//www.youtube.com/watch?ve8kwvhsT850
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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 dwelling-place.    

68
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 ! 

69
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