She Walks In Beauty Essay, Research Paper
& # 8220 ; She Walks in Beauty & # 8221 ;
George Gordon Noel Byron & # 8217 ; s verse form titled, & # 8220 ; She Walks in Beauty, & # 8221 ; obviously put, is a love verse form about a beautiful adult female and all of her characteristics. The verse form follows a basic iambic tetrameter with an atonic syllable followed by an tonic syllable that allows for a beat to be set by the reader and can be clearly seen when one looks at a line:
She walks / in boyfriend / ty like / the dark.
T.S. Eliot, an American poet criticizes Byron & # 8217 ; s work by saying the verse form, & # 8220 ; needs to be read really quickly because if one slows down the poesy vanishes and the rime is forced & # 8221 ; ( Eliot 224 ) . With this rhythm the reader can, nevertheless, look deeper into the contents of Byron & # 8217 ; s verse form and detect a conflict of two forces. The two forces involved in Byron & # 8217 ; s verse forms are the darkness and light- at work in the adult female & # 8217 ; s beauty, and besides the two countries of her beauty-the internal and the external. The verse form appears to be about a lover, but in fact was written about & # 8220 ; Byron & # 8217 ; s cousin, Anne Wilmot, whom he met at a party in a bereaved frock of beady black & # 8221 ; ( Leung 312 ) . This fact, the black frock that was brightened with sequins, helps the reader to understand the beginning of the verse form. Byron portrays this, the commixture of the darkness and the visible radiation, non by depicting the frock or the adult female & # 8217 ; s actions, but by depicting her physical beauty every bit good as her interior strengths. In the beginning of the verse form, the reader is given the image of darkness: & # 8220 ; She walks in beauty, like the dark, & # 8221 ; but so the line continues explicating that the dark is unclouded and the stars are bright. So instantly the verse form brings together its two opposing forces that are at work, darkness and visible radiation.
In lines three and four Byron emphasizes that the alone characteristic of the adult female is her ability to incorporate antonyms within her ; & # 8220 ; the nest of dark and bright/meet & # 8221 ; in her. The fall ining together of the darkness and the visible radiation can be seen in her & # 8220 ; facet, & # 8221 ; or visual aspect, but besides in her & # 8220 ; eyes. & # 8221 ; In this instance, & # 8220 ; the adult female & # 8217 ; s eyes aren & # 8217 ; T to be associated with a physical characteristic, but more as an internal facet of her: the eyes reveal her bosom & # 8221 ; ( Martin 24 ) . L.C. Martin, from the University of Nottingham, besides writes that Byron, & # 8220 ; emphasizes the alone characteristic of this adult female to incorporate antonyms within her, & # 8221 ; ( 24 ) hence holding with the construct that non merely is at that place a battle between the darkness and the visible radiation, but besides within the adult female.
Get downing with line five, the word & # 8220 ; meet & # 8221 ; is emphasized once more as she creates a & # 8220 ; stamp visible radiation, & # 8221 ; non the flashiness of daylight, but a gentler visible radiation that even & # 8220 ; heaven & # 8221 ; does non confer an the twenty-four hours. The dark can be thought of in footings of unreason and the twenty-four hours in footings or ground and neither twenty-four hours nor dark is delighting, merely the meeting of the two extremes in this adult female. & lt ;
In the 2nd stanza, one time once more, the antonyms are combined. & # 8220 ; Shade & # 8221 ; or darkness is combined with & # 8220 ; twenty-four hours & # 8221 ; or visible radiation, and & # 8220 ; raven braid & # 8221 ; or dark hair is linked with a lightened face. If the adult female contained with in her and in her visual aspect either a small spot more of darkness or a small spot more of visible radiation, she would be & # 8220 ; half impaired. & # 8221 ; A cardinal word in this subdivision is & # 8220 ; grace. & # 8221 ; Although Byron continuously talks about visual aspects, in actuality he is mentioning to the & # 8220 ; nameless grace & # 8221 ; that is in her hair and face. Once once more, it is something internal every bit good as external that is so attractive about this adult female.
Although this verse form begins with the image of a adult female walking, there are no images given by Byron of her legs or weaponries or pess ; this is a caput verse form, confined to hair, eyes, face, cheeks, and foreheads. The decision to the 2nd stanza contains insight into & # 8220 ; the brooding topographic point & # 8221 ; of the adult female & # 8217 ; s ideas, making an penetration into her head by utilizing initial rhyme. The repeat of the & # 8220 ; s & # 8221 ; sounds is comforting in the phrase & # 8220 ; serenely sweet express, & # 8221 ; because & # 8220 ; Byron is mentioning to her ideas, and her ideas are calm and pure & # 8221 ; ( 25 ) .
In the 3rd and concluding stanza, Byron concludes the verse form with three lines a physical description that lead to the concluding three lines the adult female & # 8217 ; s moral word picture. The soft cheeks, the winning smiling, the shades in the tegument articulately express non merely physical beauty, but they besides attest to her morality. The physical beauty, the talker can reason, reflects yearss spent making good, a head at peace, and & # 8220 ; a bosom whose love is guiltless! & # 8221 ;
Byron convinces the reader that this adult female is perfect. If any one facet of her were to be different, she would be half-impaired. Byron uses many opposite words to depict this adult female but still portrays a perfect balance within her, frequently utilizing antonyms like darkness and visible radiation to make this balance. As L.C. Martin provinces, & # 8220 ; Whether Byron would hold preferred a less guiltless cousin, person with whom he could bask Byronic passions, is left mute for the reader to decode & # 8221 ; ( 25 ) . Without the two forces and the battle within this adult female, Byron & # 8217 ; s verse form would hold been a field love verse form, but because the forces are so pronounced by his usage of colourful linguistic communication, beat, and usage of human features, & # 8220 ; She Walks in Beauty & # 8221 ; is universe renowned for its powerful description. Not merely does it depict a adult female & # 8217 ; s physical beauty, but besides her interior strengths.
Eliot, T.S. , & # 8220 ; Byron, & # 8221 ; in On Poetry and Poets, Farrar, Strauss and Giroux, 1957,
Martin, L.C. , in Byron & # 8217 ; s Lyrics, The University of Nottingham, 1948, pp. 24-25.
Leung, Mathew, foreword to Poetry of Byron, by Lord Byron, Macmillian, 1881,
Reprinted as & # 8220 ; Byron, & # 8220 ; in Essays in Criticism, Dutton, 1964, pp. 312-30.