ADH Comparisons Flashcards
Song: When I Am Dead My Dearest
the accepting, calm tone of the poem
Rossetti departs from the sort of funereal elegies and songs of remembrance we associate with Victorian poetry
Rossetti’s ‘Song’ is unusually stoic and free from tragic self-pity or sorrow, we see in this poem the quality that Philip Larkin so admired in Christina Rossetti: her ‘steely stoicism’
similar to Nora at the end of the play — accepting and calm
Song: When I Am Dead My Dearest
the lack of need for love and affection
whilst roses represent love, the cypress tree traditionally symbolises mourning because cypress branches were carried at funerals
by declaring that she has no need for love and mourning, the speaker reassures the lover that she will not be jealous or resentful if they continue living their life rather than mourn the speaker
link to how Nora realises by the end of the play she doesn’t need Torvald’s ‘love’ and affection anymore, it is meaningless
Song: When I Am Dead My Dearest
weariness and tiredness
Rossetti uses alliteration and sibilance to create a song-like tone
phrases such as ‘sad songs’ highlight the melancholy voice of the speaker
the soft ‘sh’ sounds in the words ‘shady’ and ‘showers’ reinforce her weary tone, which mirrors Nora’s weariness and tiredness towards the end of the play
Song: When I Am Dead My Dearest
expression of emotion
this poem is concerned with natural and spontaneous expression through song or poetry, such as the song of the ‘nightingale’
poetry provides a natural outlet for the speaker’s emotions – like Nora’s tarantella allows her to express her emotions
Song: When I Am Dead My Dearest
endurance and continued growth
grass is a plant that can be stepped on, drowned in rain, or put through drought and continue to grow
“Being the grass” is a likely metaphor for enduring, and continuing to move forward with life
parallels with Nora’s wishes for Torvald when she leaves, she wants them both to move on and grow
Song: When I Am Dead My Dearest
uncertainty
the narrator focuses on what they will not experience, and in each example, a sense of sorrow is instilled in the poem
there will be no “shadows;” no “rain,” and no “painful” songs from the nightingales
each word creates an image of dark, with the rain especially emulating the image of tears
repetition is used to great effect, influencing what the speaker “shall not” know of, without really understanding what they “shall” be
links to Nora’s uncertainty at the end of ADH, she ventures out into the unknown and neither she nor the audience can be sure of what will happen to her, all we know is that she will be free of Torvald’s control
Song: When I Am Dead My Dearest
giving freedom of choice to another person
it is meaningless to insist someone to remember her after her death
therefore, she gives her dearest one the freedom to remember of forgetting as he wishes
like Nora gives Torvald freedom at the end of the play to finally strip himself of his façade and grow as a person
Song: When I Am Dead My Dearest
fatalism
the poem also suggests us that no one can escape from the torturous grip of the death
it reflects a quite melancholic and inflicted heart of the speaker – similar to Nora’s fatalistic attitude
Song: When I Am Dead My Dearest
outward shows of behaviour
by questioning the mourning ritual, perhaps the narrator is criticising the showing of behaviour for the sake of outward appearances and suggests some more sincere ways to express one’s sadness is better
like Nora’s realisation that Torvald’s ‘love’ for her is merely a façade and doesn’t mean anything
Song: When I Am Dead My Dearest
contrasts between the relationships in this poem and the play
Torvald views Nora as his “pet” rather than his wife, to him, being a wife means being property
whereas in this poem, the speaker tells her lover to move on after her death, which is the opposite of the possessive and controlling relationship based on selfishness seen between Torvald and Nora
the narrator instead assures that she won’t be sad or bitter if her beloved decides to move on, she actually encourages it, giving them freedom to choose
Song: When I Am Dead My Dearest
common attitudes and themes expressed in both texts
contemplation, calm, weary, confidence, acceptance, self-awareness, tolerance (about death), curiosity, melancholy, solemn, sombre, indifference/nonchalance, ambiguous towards death, loss
Remember
growth, maturity and acceptance
begins with a strong, clear and commanding tone but this weakens as the command to remember is replaced by the suggestion that the speaker is happy to be forgotten if its means those she has left behind will be happy
the speaker recalls how, in previous meetings, there was reluctance to turn away from her lover, yet this is now a necessity that they both must deal with and she has realised this
the speaker’s tone changes, urning from the instruction to remember, she suddenly chooses to accept that she may be forgotten and declares that it would be far better that the beloved forgot and was happy than remembered and was sad
this demonstrates maturity, growth and acceptance, much like Nora’s journey
Remember
attempts to gain control
the regularity of the iambic beat reinforces the sense of control the speaker attempts to establish over the matter of death and the beloved’s reaction to this, something she suggests she has little control over
similarity to Nora trying to gain some form of control over her own life
Remember
possession
the speaker anticipates a time when her lover will no longer be able to ‘hold’ her ‘by the hand’
by using the image of hand-holding, Rossetti suggests a kind of possession
by indicating that her lover will no longer be able to hold her by the hand the speaker suggests that he will no longer have any part in her or be able to possess her in the same way as he was perhaps used to
links to Torvald’s possession of Nora
love is a kind of possession (but not necessarily of the demonic kind) – the hand holding and the speaker’s inability to “turn” away, for example
Remember
loneliness and isolation
the speaker anticipates entering the ‘silent land’ which she perceives to be ‘far away’ from life on earth
as well as indicating physical distance, the idea of silence can suggest both positive and negative associations
rest, sleep and tranquillity —the final book of the New Testament, Revelation, describes heaven as a place of rest for all who enter (Revelation 14:13)
an absence of life and communication — it is a place where there can be no more intimacy, talking of future dreams or holding hands, it is a place of loneliness and isolation
links to Nora’s isolation, or perhaps the peace she will find in the wider world now that she has escaped the confines of her home
Remember
the role of women
Remember can be read as highlighting the passive role expected of women in Victorian society
if the speaker is female, we see her as the recipient of the dominant male’s actions, who: holds on to / possesses her, talks at her (‘You tell me’), lays down what the future is to hold for her (‘our future that you plann’d’) and advises her (‘counsel’)
in the light of this, perhaps the speaker’s inner thoughts come from a ‘dark’ place and are rebellious and resentful of this treatment
Remember
plain and direct speech
plain and direct speech, calm and measured
like Nora’s discussion with Torvald at the end of the play
Remember
talk of death
‘going away’ is the poem’s metaphor and euphemism for death, which contrasts hugely to Krogstad’s vivid description of Nora’s corpse, who makes no attempt to use euphemisms
the word ‘death’ never actually appears in the poem, demonstrating an attempt to avoid being overly morbid using the harsh word ‘death’ and possibly upsetting the addressee
this is like Rank not telling Torvald of his illness to shelter him from the ugly
Remember
sacrifice
love is about sacrifice more than anything and the speaker proves her love by saying she would rather her lover be happy than remember her and be in pain
perhaps she is restraining herself from expressing her desire to be remembered for the sake of those she has left behind, she would rather them be happy
links to the sacrificial role of women in ADH, having to sacrifice parts of themselves for the happiness and wellbeing of others — here the speaker sacrifices being remembered to allow others to be happy
she wishes for her beloved to be happy, even if that means forgetting her, the narrator sacrifices her personal desire to be remembered in an expression of consideration for him, she prefers to spare him the pain of guilt and mourning
Nora has to make a sacrifice to save her husband and is then punished for it, but also at the end of the play has to sacrifice her family to be herself and find her own identity
in this poem, the speaker has to sacrifice her true desire to be remembered in order to make her loved ones happy
Remember
power imbalance
emphasises his position of power in their relationship because he has planned everything: “our future that YOU planned”
this suggests that her lover’s ‘plans’ may not have accorded with her own, yet he dictated her future
perhaps he was making plans without her agreement, dominating the relationship, as was the societal norm
Remember
the ending
the poem ends in peace and acceptance
the simple rhyme of ‘had’ and ‘sad’ gives a feeling of resolution and completeness
unlike in ADH, in which the ending is far from resolved and peaceful
Remember
ambiguity
an alternative view is that the poem ends with the negative emotion of sadness rather than acceptance because the very last word is “sad”
maybe deep down the speaker actually does want her lover to remember her in death, there seems to be an ambiguity with the final line
much like how Torvald’s final line in ADH is open to interpretation, has he come to a realisation? or is he still ignorant?
Remember
strong female voice
the only voice in the poem is that of a woman and it is a commanding tone, often using imperatives and instructing those she has left behind on how to deal with their loss
the narrator also gives the person her permission to forget her
this is similar to Nora in the final stages of the play as she makes up her mind and cannot be influenced by Torvald or by what society would expect of a woman
Remember
desire to be forgotten
Dr Rank desires to be forgotten and not see any of his loved ones whilst he is dying
perhaps he doesn’t want to cause any pain or “ugliness” that make affect anyone else
the speaker in the poem also gains control of her life by commanding loved ones to “not grieve” as she would prefer for them to be happy
From The Antique
the plight of women
the poem deals with the plight of Victorian women
whether middle class or working class, women were regarded as of lower value than men — suited either for domestic drudgery if poor and uneducated, or if from a higher level of society regarded as delicate and emotional and not very clever
certainly, in both cases, they were thought to be incapable of logical thought
From The Antique
lack of value
the speaker is saying that women aren’t valued for themselves; that men hold the power in society
her perspective is bleak and she wonders if anyone would notice ‘If I were gone’
this may be a fair reflection of what many disregarded women living empty, restricted lives may have felt
Nora lives such a restricted and empty life
From The Antique
oppression and alienation
the oppression and alienation which many Victorian women might have experienced due to their exclusion from key systems of power is felt strongly in ‘From the Antique’
it was never published in Rossetti’s lifetime – possibly because of its unmistakeable critique
so ‘weary[ing]’ is the position of women that annihilation is preferable, since this would enable escape from gender expectations and imposed identities
From The Antique
bleak and negative tone, dismay and frustration
bleak and negative tone – every stanza is initiated with similar blunt explanations, “Were nothing at all”, “Still the world would wag on the same” and “None would miss me”, accentuating the speakers dismay at her life
similar to Nora’s dismay at her own position as Torvald’s ‘doll wife’
From The Antique
undervaluing of women, life is joyless, it is better to not exist at all
the first stanza begins abruptly with the statement: ‘It is a weary life’, establishing the theme of the poem, the undervaluing of women
to reinforce it, Rossetti adds another ‘It is’, and then ‘Doubly blank’
for many, life is joyless
‘I wish and I wish’ gives yet further emphasis and is chilling, she is saying that not to exist at all is better even than being a man
From The Antique
life is a weary experience, especially for women
the speaker recognises life as being a weary experience, she explains that this is especially true if you are a woman
“Doubly blank” is the expression to convey this idea — blank is an absolute term, and there is no such thing as somewhat blank or more blank, which seems to suggest that life being a weary experience is an absolute, but somehow is made worse when the person living it is female
so, she wishes, and uses repetition to emphasize the strength of the wish, that she had been born male
she then expresses that more than being born male, she wishes she had no being; that she didn’t exist at all
From The Antique
discontent with a current situation, there is no state of being that can make the speaker or Nora happy
water and dust imagery — these are opposites to one another, in many ways
this, along with the repetition of “not”, is to symbolize that there is no state of being in which the speaker can see herself as being happy in
dust, particularly, has connotations of death, as in the Anglican burial prayer (ashes to ashes, dust to dust)
like Nora sees no state of being in her current situation that she can be happy in, she needs to leave completely
From The Antique
indifference to women’s suffering, breaking free from the endless cycle of conformity
while “the world would wag on the same”, seemingly indifferent to women’s plight (like the men in ADH are), the speaker would have removed herself from the endless cycle of bleak conformity where “all the rest… wake and weary and fall asleep” (like Nora in ADH does by leaving)
From The Antique
everyone is a victim of society
”While all the rest” reveals no differentiation between men and women
this may signify the extent of the speakers unhappiness, as to begin with she was transfixed on the inequalities she faces due to being a woman
whereas by the end of the poem she seems to band the whole of society together, viewing no way out of her misery no matter what her gender, which suggests that everyone suffers irrespective of their gender
there is a similar theme in ADH, as Torvald is also a victim of society
From The Antique
lack of hope
“all the rest” may refer to women who will carry on leading unfulfilling lives
even if the speaker was able to become non-existent, the rest of womankind would be left behind
this is a reminder that just because one woman (be it this speaker or Nora) is able to relieve herself of her misery, this doesn’t mean that the same is true for all women
From The Antique
a woman’s place in society
both Nora and the speaker in this poem yearn for independence from society because of their gender and the oppression and alienation that they face
however, in the poem, the speaker wishes for annihilation whilst Nora wishes for a miracle as she still sees hope — this could be because Rossetti fully understands the female experience as she would have known the extent of the patriarchy
there is no way to escape the patriarchy — lack of hope for Nora? even if she goes out into the world, it’s unlikely she will find anything better, as she is still a woman
both of the speakers desire to be a man, Nora wishes to earn money like a man and the speaker fully exclaims her desire to be a man rather than a woman
women must sacrifice a lot (Nora, Mrs Linde and Anne-Marie), so much so they would perhaps find a better life being a man
From The Antique
rank and social status
in ADH, Nora says “How dare you presume to cross examine me… you are one of my husband’s employees”
she tries to hold rank over Krogstad as he holds the power to destroy her life and tries to assert her social status to give herself some semblance of power in a situation that she is ultimately powerless in
similarly, the low social status of women is seen in From the Antique, “I wish, I wish I were a man”
From The Antique
passivity and acceptance
during the first two stanzas the tone of the speaker is desperate, almost suicidal
however the concluding stanzas feature a shift in tone, focusing further on wider society and becoming more sarcastic, possibly promoting the acceptance of a woman’s place in society and coming to the conclusion that every gender becomes insignificant at some point
passivity and acceptance that nothing will change — much like Nora’s initial passivity, although she is able to break free from this and take genuine steps towards becoming happy and fulfilled
Echo
repetitive longing
Rossetti’s poem describes the longing of a spirit in heaven for the lover left behind
it is unusual because Paradise is usually associated with peace and content, but here the souls ‘thirst’ for those they left behind
they are suffering unsatisfied longing, rather than peace and bliss – the title ‘Echo’ is significant in that it refers to the soul’s continued, repetitive longing
links to Nora’s longing for independence, freedom and an identity of her own, which is not being satisfied in her current situation
Echo
pain and suffering
by asking that memory, hope and love would come back to the speaker ‘in tears’, she expresses a wish that the past would return, however painful it may be
Nora welcomes independence and chooses to venture out into the unknown, no matter if she suffers along the way or encounters hardship
Echo
need and desperation for a loved on
the repetition of the word ‘come’ shows the protagonist’s need and desperation for the loved-one
the imperative ‘Come to me’ suggests that the protagonist has hoped and prayed for a long time that the loved-one would join them but has been unable to do so — the speaker is now demanding their presence
links to Nora wishing for a miracle, for Torvald to save her
Echo
realisation that the past cannot be recaptured and she is yearning for something that will not return
the speaker is attempting to re-create the feeling she had when her lover was beside her
however, her lover will always remain in ‘silence’, never actually able to ‘come back’ – sense of hopelessness
the repetition of the word ‘sweet’ almost makes the reader feel as if the phrase has become sour and unappealing to the speaker
this is shown through the realisation that the view of their lover was a dream, and that the past can’t be recaptured — the speaker seems to be becoming tired of longing for something that no longer exists
similar to Nora’s realisation that Torvald is not the husband she wants him to be
Echo
desire for deep emotion to be reciprocated
the speaker asks that his/her lover would come back to his/her ‘in tears’
tears can express deep, heart-felt emotion and the hope that the lover would come in tears suggests anticipation that he would demonstrate his passion and love by reciprocating and sharing in the speaker’s sorrow
links to Nora’s hope for a miracle, that Torvald will nobly sacrifice himself for her out of love and devotion — naivety
Echo
emotional deprivation
description of souls who, with ‘thirsting longing eyes’, await a reunion with their beloved
rather than resting in security, those who have thirsting eyes are portrayed as restless, their eyes constantly watching for the opening of the door
whereas physical thirst makes a person long desperately for some refreshment, Echo suggests that emotional deprivation can be equally powerful and painful
Nora’s emotional deprivation causes her to eventually leave her home and husband
Echo
loneliness and isolation
rather than another voice echoing back the love that is expressed, the speaker finds that it is only the echoes of her own voice that can be detected and reminders of the past, now ‘finished years’
Echo
dependency
the speaker in Echo is dependent upon the memory of her lover to bring her a sense of happiness and some type of life
this is similar to Nora as she is dependent upon Torvald to live as he provides her with money, but he does not bring her happiness as he traps her within the role of the mother and wife
Echo
inability to move forward, entrapment
each night for many nights, the speaker has gone to sleep and dreamed of their loved one’s breathing and of their heartbeat, the things that drive life
they cannot move forward, remembering what they once had, and never will have again
Echo
echoes
there is anaphora in the poem which suggests a literal echo
Nora is Torvald’s echo as she calls herself a songbird, reiterates what he says and fulfils the roles he forces and expects her to be
Echo
threshold, doors
the dreams in the poem suggests the threshold between life and death and it is the “slow door” that will enable the speaker to reach real happiness and reunite with her lover in heaven
in A Doll’s House, the doors trap Nora from the real world and prevent her from becoming a human being, not just a doll
Shut Out
sense of finality
the poem opens abruptly and the full stop creates a caesura, to emphasise the poet’s alienation and isolation
the caesura in the middle of the first line conveys the sense of finality that the shutting of the door creates and emphasises the break that has been created to separate the past from the present
similar to the slam of the door at the end of ADH
Shut Out
lack of freedom
the song-bird, like the lark in the final stanza, signifies joy and freedom, the speaker seems to have lost this freedom
links to Nora’s lack of freedom in ADH, which she manages to gain at the end of the play
Shut Out
isolation
the shadowless spirit does not engage but seals up the door, physically demonstrating the alienation of the speaker from the garden
the non-responsiveness of the guard intensifies the speaker’s feeling of loneliness and isolation — she has been excluded and made invisible
Shut Out
restriction and confinement of women
the speaker in this poem is an entrapped or imprisoned woman, she is being banned from entering a place that gives her happiness
this can be read as a metaphor for women being excluded and shut out from society
after all, the shadowless spirit is a “he” and the speaker pleads with him to let her in, perhaps this spirit represents patriarchal society, which marginalises women and denies them freedom and happiness
Shut Out
the ability of women to persevere and gain freedom
the seventh and last stanza refers to a small, song bird, lark which can be seen as a symbol for women
the fragility of the small song bird shows us how women were viewed in the Victorian era, where their place was said to be only at home where they had no property rights and were deprived of voting
but the bird flies out and makes a new nest nearby, symbolising the ability of women to persevere and gain freedom – similar to Nora’s decision to leave at the end of the play, Nora becomes the lark who flies away and creates a new home somewhere else
Shut Out
negative presentation of desire
the speaker’s intense desire to enter the garden only leaves her with feelings of sadness and despair when she is denied access to the garden – negative presentation of desire
Shut Out
entrapment
the speaker in the poem is unable to get past the gate and is thus trapped from happiness and fulfilment, perhaps due to breaking away from society’s expectations
Nora is trapped by society and Torvald and in her role as a mother
the structure of the poem makes the stanzas sound enclosed, which is similar to the use of the doors in A Doll’s House which reflect Nora’s entrapment in her roles
door imagery is used in both texts; in the poem it reflects the narrator’s exclusion from happiness, which is similar to Nora, and on top of this the doors also reflect her inability to break free from her roles and her secret
In The Round Tower At Jhansi
the relationships presented
Rossetti also uses a lot of repetition such as “close” which not only shows their physical closeness as they prepare to die, but also how close they are emotionally and the support which they provide for each other
they are alone in a tower with “wretches below” that intend to kill them, it is “a thousand to one” and the only ones they can rely on are each other
the relationship between Nora and Torvald is the polar opposite
In The Round Tower At Jhansi
distress
the poet has uses hyperbolic language from the very first line of the poem: “A hundred, a thousand to one; even so”
this lays emphasis on the dramatic distress that the characters in the narrative feel
but while this distress brings Skene and his wife together, the distress in ADH drives Nora and Torvald apart until she eventually leaves
In The Round Tower At Jhansi
acceptance
the use of question mark at the end of “‘Is the time come?’”, gives the spoken phrase a fearful tone
although there is a sense of acceptance in the phrase “The time is come!’” — this way it is given a calm and resigned, but in some ways commanding tone
link to Nora at the end of ADH
In The Round Tower At Jhansi
time closing in, urgency
the repetition of “close” creates a sense of time closing in
it also creates a triplet; “Close his arm” / “Close her cheek” / “Close the pistol” – building of urgency
similar to how Nora’s speech as the play goes on becomes more frantic as Krogstad puts more pressure on her
there is also a sense of time closing in during ADH — deterioration of the tree acts as a reminder that time is running out for Nora
In The Round Tower At Jhansi
sympathy
the use of triad (“Young, strong, and so full of life”) creates sympathy for the characters and brings about a feeling of loss
this may be the same reason we might feel sympathy for the young and innocent Nora and condemn Krogstad for manipulating and exploiting someone so naive and vulnerable
she is described as ‘pale, young wife’ to stimulate the reader’s sympathy, she is young and therefore her impending death is a tragedy
the description ‘pale’ suggests fear – similar to how we feel sympathy for Nora, she is innocent and naïve and being taken advantage of by Krogstad, an older and more experienced man
In The Round Tower At Jhansi
entrapment and hopelessness
hyperbolic language reflects the drama, and matches the perception of those under siege, looking down at the troops surrounding them
this creates a sense of hopelessness and entrapment and a feeling of urgency, reinforcing the distress felt in the first line of the stanza
In The Round Tower At Jhansi
gender imbalance
the gender imbalance is clear — Skene’s name is included, but his wife is never named
she is a nameless and thus identity-less figure, the only ‘value’ she seems to have as a person is being married to her husband and this marriage makes up her whole identity
In The Round Tower At Jhansi
women needing reassurance
the implication is that Skene is an experienced soldier and his wife, newly arrived in India, is asking the questions and needs reassurance from him
similar dynamic between Nora and Torvald at the beginning of ADH
both, however, are shown as courageous, despite the terrible loss of their future as a loving couple, whereas it is only Nora who becomes courageous in ADH
In The Round Tower At Jhansi
depiction of love
the repetition of ‘Close’ shows the couple’s love for each other
it is only this that gives them the strength to cope with the terror of suicide
positive depiction of love — unlike the absence of such love in ADH
although the poem is bleak, the loving elements inside of it are joyful and reflect a trusting and deep relationship atop the melancholy of the situation the characters find themselves in — there is a positive spin of love and hope intermixed with the siege of the tower and the imminent deaths of the couple
the action of ‘Kiss and kiss’ conveys the passionate relationship the couple share, and is one of the few times that Rossetti has a positive portrayal of passion explaining how ‘it is not pain thus to kiss and die’ with the indication that the pain of death can be numbed by a kiss — an act which can be viewed as intensely passionate and intimate especially in their situation
this numbing suggests that just the feeling of love can overcome death and reflects the depth of the love the characters share
In The Round Tower At Jhansi
initial stereotypical portrayal of women
the question, ‘Will it hurt much?’ is typical of those facing and fearing death
there is a child-like tone to this, suggesting that the young wife is far less experienced than her husband and needs guidance from him – stereotypical portrayal of women
In The Round Tower At Jhansi
bravery and strength of women
the man wishes to bear the pain for his wife (like Torvald’s claims), but she gathers up her courage with ‘I am not loth’, and instead urges him to have courage
they seem equal in fortitude – challenges the stereotypical portrayal of women
she is also brave and strong, like Nora becomes
In The Round Tower At Jhansi
sacrifice and love
in the poem, man and wife make a sacrifice for one another
whilst Torvald claims that a man should never have to sacrifice himself, but Nora depicts how her love was shown through her ultimate sacrifice for him
In The Round Tower At Jhansi
death
the suicide of Skene and his wife is presented by Rossetti as a noble action, but Nora wanting to commit suicide is seen as pathetic by many audiences
A Birthday
happiness and joy
this poem is about being in love and being happy
many of the most critically celebrated and popular poems in English literature are instead about frustrated, lost, unfulfilled, or unrequited love, whereas this poem gives a voice to the exhilarating happiness that finding someone special provides
it expresses pure, undarkened joy — contrasts deeply to ADH, which is the exact opposite
A Birthday
depiction of love
the speaker likens her heart to a singing bird, denoting happiness; to an apple-tree, with plenty of ripe fruit on its branches; to a rainbow shell in a calm and peaceful sea
but although her heart is like all these, her heart is ‘gladder’ than them all because the speaker’s beloved has come to her
the speaker indicates that descriptions of the natural world are incapable of fully expressing her exuberant emotional state and love
A Birthday
inexpressible joy
Rossetti’s use of anaphora in “My heart is like” emphasises the narrator’s inability to articulate her joy through language
she continues to search for an appropriate simile for her feelings, using symbols that invoke images of celebration and happiness
this expresses the fullness of her heart which she struggles to put into words that will do her love justice, her joy is almost inexpressible
A Birthday
devotion, newfound vitality from love
there are many images associated with imperial grandeur and royalty, and the second stanza reads like somebody preparing for a royal visit
the speaker’s beloved is like a king, and must be treated accordingly
“the birthday of [her] life” — her life has only now truly begun, when her love has come to her
the coming of her love has changed everything for the speaker, transforming her life into something special and rare, she feels the love should be honoured in a fitting way
A Birthday
the return of a lover
the speaker is celebrating her love coming ‘back’ to her, it is not clear where he has been but this is not the important factor here
the speaker expresses her joy at the return of her lover and highlights the arrival of the fulfilment of the time of waiting that she has undergone
perhaps Nora and Torvald will be able to experience a similar reconnection if they both learn to become their own people
A Birthday
resurrection and new beginnings
can be interpreted as a devotional poem involving love for Jesus, rather than love for a partner
the speaker declares that her happiness and comfort come from the presence of a certain love, whether this is Jesus, a spouse, or someone else is not revealed, but throughout the poem, the arrival of spring is celebrated (the trees are in blossom, the birds are singing and shoots are springing into life)
in Christianity, the celebration of Easter and the celebration of Jesus rising from the dead falls in spring, perhaps Rossetti is describing the Second Coming
the poem can therefore be associated with this story of resurrection and new beginnings
like Nora venturing out into the world at the end of ADH, which seems to show a kind of rebirth and awakening as she attempts to find a new beginning for herself
A Birthday
love and religion
the speaker in the poem is enriched through a pure love, whilst Torvald’s ‘love’ for Nora is merely a facade for his control
it also functions as a façade for her, because so long as she thinks he loves her, she is happy to love him
Ibsen offers no religious salvation, although Nora does suggest she wishes to learn about religion, whilst the speaker is comforted by the promise of Christ’s love and seems to have found God
A Birthday
rebirth
the ‘birthday’ of my life could suggest being reborn through overwhelming love
much like how Nora is reborn at the end of the play out of her role of being a mother into a human being: “I’m taking off my costume”
A Birthday
bird imagery
“My heart is like a singing bird” demonstrates that the speaker in the poem is free, the bird symbolises freedom, joy and happiness
whilst Nora is trapped in the role of a mother and wife by Torvald, constantly being referred to as ‘squanderbird’ — bird imagery in ADH is a symbol of Nora’s confinement
A Birthday
finding happiness
for Nora, happiness comes through money and independence
while the speaker finds their happiness through love and devotion
A Birthday
a shift
in the second stanza, there is a shift of urgency
Nora shifts to a more urgent state and into a new woman at the end of the play
Maude Clare
criticism of Victorian marriage
the fact that a similar situation happened with Thomas’ mother and father may be a criticism of Victorian marriage
women are forced to accept their husband’s faults and marry them anyway, being expected to stand by them even if their husbands do not love them, having to patiently wait until they do
female sacrifice
serve the purpose of shattering the image of marriage as a state of fulfilled love
the perspective of Nell, who chooses to stand by her marital vows regardless of her husband’s feelings, is also an interesting commentary for Victorian England
Maude Clare
cruelty, but also power
Maude Clare addresses Thomas in her first lines, which are heavily based in repetition, which gives her words additional weight
she continues to use the word “bless,” imposing herself onto all aspects of Thomas and Nell’s marriage and almost giving their union her permission
Nell’s gift from Maude Clare is Thomas himself; she declares that she no longer wants anything to do with Thomas and his “fickle heart”
this seems to be a cruel reminder that Nell and Thomas are only able to get married because Maude Clare is allowing them to and ridding herself of Thomas, thus giving them ‘permission’
the three blessings show Maude Clare’s cruelty — she has decided to impose herself onto all aspects of their marriage and future together, forever reminding them of her presence and tainting their marriage
Maude Clare
female power and male weakness
Thomas finally speaks, and he wants to stand up to Maude Clare
instead, he manages to say her name twice, call her “Lady” once, and turn away, embarrassed and ashamed
he is unable to stand up for himself or for his wife in the face of his old lover’s mockery, and she is succeeding in embarrassing him, presumably her original intention
Maude Clare
mistrust
by describing Thomas’ heart as “a fickle heart”, she suggests that the reason she and him broke up their own relationship was so that he could be with Nell — or potentially another woman
her words are a clear indication that she intends to sow dissension and mistrust between the newlyweds, and likely cares more than she indicates here
Maude Clare
female devotion, possible naivety and sacrifice
unlike Thomas, Nell responds quickly and strongly and declares that she has vowed to love Thomas “for better and worse” and intends to stick to these vows
she says that she loves Thomas and that if he does love Maude Clare more than he loves her, then she will be patient and love him anyway
the poem concludes in much the same note, with Nell acknowledging that Maude Clare is smarter, taller, and prettier than she is, but that doesn’t matter, because she will love her husband regardless, and that makes all the difference in the world
Maude Clare
lack of devotion and commitment from the husband
the phrase ‘for better or worse’ is used in a traditional Christian marriage service to articulate the fact the bride and groom accept each other in spite of what may happen in the future, they promise to love one another whether things go well or go badly
devotion and dedication — which Torvald does not show towards Nora, but Nora believes Torvald would take the blame for her forged debt and misunderstands as those were not his intentions
Torvald is unwilling to stand up for her in this way, much like Thomas and Nell, so both Nell and Nora have to do this themselves
Maude Clare
the woman as the stronger character
Maude Clare’s fierce language – she does not try to hide any of the anger or malice she feels
she addresses Thomas with the cry ‘Lo’ before launching into scornful dialogue, which corresponds to both the cry ‘Oh’ and the exclamation ‘Look!’
it is a cry that serves to stop Thomas and Nell in their tracks and forces them to hear what she has to say
compared to Maude’s direct and abrupt language, Thomas speaks in faltering tones and she seems to be the stronger and more intelligent character — like Nora by the end of ADH
Maude Clare
restraint v freedom
Nell’s restraint contrasts with Maude Clare’s freely expressed anger
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, she is freeing herself
like Nora frees herself at the end of ADH by leaving the confines of her home
Maude Clare
portrayal of passion
Maude Clare’s passion is expressed through anger and jealousy, and this cruelty leads her to interrupt their wedding day and has the potential to blight Thomas and Nell’s marriage, demonstrating that passion can lead people to becoming destructive and heartless
however, Nell’s passion is expressed through sincere devotion and dedication to Thomas, she is willing to stand by him and patiently wait until he truly loves her
Maude Clare
free and liberated woman
there is a suggestion that Maude Clare is quite promiscuous – unmarried women were forbidden to expose their ankles, yet Maude Clare was prepared to break with convention and go wading “ankle deep” in “the beck” with Thomas
she is more of a free and liberated woman, willing to cast aside the restrictions placed upon her
although this comes at the cost of being seen as a ‘fallen woman’ — punishment of women who defy convention
Maude Clare
challenging gender stereotypes
the words “strove” and “faltered” suggest that Thomas is weak and inferior to Maude Clare
this challenges the gender stereotypes at the time as she is the one who is powerful and in control, while Thomas hides in shame and is unable to speak
the fact that he cannot return her harshness suggests that he is the one at fault; he knows that he cannot say anything when he is in the wrong
Rossetti titles the poem “Maude Clare” which immediately centralises a female character, making her the focus of the poem — this in itself is a challenge to the Victorian gender stereotypes as it contradicts the invisibility of women in that era and the dominant and powerful attitude of men
Maude Clare
facade
Maude Clare purports to be indifferent, and yet she took the trouble to be there in order to disrupt their wedding day
for all Maude Clare’s powerful personality and Nell’s quiet demeanour, it is the rejected woman who is the victim
Maude Clare
the hidden strength of women and everyone as a victim
Nell is the only character to say the word “love” and she appears to have her own quiet brand of strength
she is able to stand up for herself in the face of an intimidating woman when her husband falters and remains silent
she defiantly stands up to Maude Clare’s cruelty and asserts her devotion to Thomas
it suggests that Rossetti was presenting a situation in which all the protagonists suffer; there is no hero/heroine and no villain – much like in ADH in which everyone is a victim of society
Maude Clare
practical power
Maude may seem the more powerful and dominant character in theory, but in practice Thomas may well be in an awkward situation, but as a man, society will not punish him for his role in this situation
it is Maude Clare who will end up an eternal outcast because she is a woman who defies the societal expectations for her gender
Maude Clare is the victim in this conflict, albeit unwillingly — she compromised her virtue when she spent intimate moments with Thomas, barefoot in the lily field
in Victorian culture, this level of familiarity outside of marriage detracted from the woman’s worth, but not the man’s
Maude Clare
power and gender, resisting political and social expectations
“First and foremost you are a wife and a mother” — Torvald asserts his hegemonic masculinity and emphasises that Nora has no decision in her role as a woman because society has already decided it for her
Nora feels trapped and guilted into living up to her responsibilities, but she defies societal expectations and says that she is “first and foremost… a human being”
resistance of political and social expectations which define acceptable roles for women and which potentially leave them powerless is also seen in Maude Clare, who takes the power and dominance for herself, rendering Thomas silent
rejection of societies expectations – Maude and Nora break away from society to reveal the truth, both would have been considered liminal and dangerous to Victorian standards, disrupting the social order
Maude Clare
strong female voice
A Doll’s House was one of the first play’s centred around women as the main characters rather than just foils to their male counterparts
Nora dominates the dying stages of the play while Mrs Linde forces the truth to come out and is the greatest voice of reason
the poem is dominated by female voice, from both Maude Clare and Nell, and the male voice is hesitant and weak
this depicts the strength of women when they realise their worth is more than just as a mother or wife
Maude Clare
female sacrifice
Nell at the end must sacrifice herself for love and is happy to settle for a husband who seems to love another woman more than her
Nora realises that women sacrifice their true identity and their safety for the sake of love, whilst men would never do the same thing
female sacrifice is also seen in Mrs Linde and Nora’s maid
female limitations in society push Nora and Maude to do something illegal/forbidden
Uphill
a struggle, a journey
this poem depicts a struggle and a journey, much like Nora’s struggle in ADH
both texts depict situations and scenarios that require harder work than usual to overcome
the road symbolises the journey the speaker takes, instead of being straight, the fact that it is ‘winding’ and ‘up-hill’ suggests that the path is long and difficult
Uphill
an exhausting, hard journey, seeking comfort
Rossetti seems to be drawing on the common “uphill battle”
the speaker asks about “the road,” and whether or not it is uphill for its entire length, as well as whether walking the road will take the entire day
their uphill journey has clearly taken some time up to this point, and they are anxious for its conclusion and wish to know if it will continue to be such an exhausting struggle, or will there be time for rest
Uphill
determination, encouragement
the second speaker could be a friend encouraging them along the way, or it could be another aspect of their own personality, perhaps their sense of optimism or determination to finish what they have started
Nora lacks a guiding figure to provide comfort and reassurance like the speaker in this poem has, but she does have her own determination and confidence
Uphill
support, or lack of it
the idea of an inn along the way, in which lies comfort equal to the work put in (“Of labour you shall find the sum”), as well as other people climbing the same hill, is a likely metaphor for friends and family or some kind of support system
it is difficult to attempt to cross over any kind of obstacle without some kind of support – this is support that Nora seems to lack and has to find within herself
the fact that there is actually a road leading up the hill indicates that plenty of others have already taken the route that is being contemplated, the speaker will not have to carve or find her own path since it has already been revealed to her
Uphill
reward at the end of a hard and difficult journey, good coming of suffering
the existence of the inn could also mean that the speaker will find rest in heaven for all the work they have done in life, indicating that after a long and gruelling journey, the individual will always be rewarded and provided with what they deserve
a source of safety at the end of a hard day’s journey
Rossetti emphasises the idea that upward progression is not a simple and easy process, lots of distractions, concerns and doubts can weigh a person down and the upward movement can turn into one of struggle instead of one of joy
but in the end the person will be rewarded for their struggle and dedication – like Nora is rewarded at the end of ADH with the beginnings of freedom and independence after her emotional and stressful journey
Uphill
the journey from life to death
the journey is the prominent symbol in this poem, and could represent the journey from birth to death
Rossetti uses the image of day to symbolise life and night to symbolise death, considering that the traveller is contemplating a journey from ‘morn to night’, the darkening sky foreshadows the end of life, and the inn represents the final resting place
considering Rossetti’s religious background, this final resting place could be interpreted as Heaven and the act of knocking on the door represents the Christian confession of sin and the need for forgiveness before admittance into Heaven
Rossetti frames death as a form of respite after the tiring journey of life
Uphill
tiring journey of life, a contemplation on life and its hardships
the road could represent the journey of life: already exhausted, the weary traveller wonders if life grows easier as she grows older
however, the guide tells her that the road that remains is up-hill and arduous
the inn could still represent death, which also provides an opportunity for rest at the end of the road – a contemplation of life and its hardships
Uphill
hope
the fact that the inn stands out in the darkness of the night indicates that the light that it sheds is powerful and will not be overpowered
metaphorically the ‘inn’ represents security and the idea of a place of welcome and rest
the speaker fears losing their way and missing the opportunity of heaven, but the inn can’t be missed, even in the dark and even if the speaker doubts their journey along the way - there will always be comfort available
Uphill
loneliness
the nervous speaker wonders if she is alone in her doubts and troubles, it suggests that sharing the journey with others is in itself a comfort
unlike Nora, who seems to be undertaking her journey to freedom and independence alone, with no one but herself to guide her
Uphill
uncertainty and the need for reassurance, dependence on a guiding figure
the constant questioning shows how unsure the first speaker is, even at the end of the journey
they depend on the answers of the second reader for reassurance – like Nora is initially dependent on Torvald, although she receives no real comfort from him, unlike the speaker in this poem who is provided with comfort and support
Nora comes to realise that Torvald is not the comforting and guiding figure she needs
Uphill
perseverance and resilience
after the trochaic opening line, the metre of Up-hill is largely iambic and the rhythm that the poem creates is regular, replicating the ongoing pace with which the speaker climbs the hill she describes (perseverance)
No, Thank You, John
defiance of female stereotypes and expectations
“I never said I loved you, John” – the speaker begins abruptly with a clear statement from which she doesn’t deviate throughout
her emphatic rejection establishes the character of the young woman; assertive and uncompromising
she begins with a bold and assertive refutation and the very first line of the poem is blunt, which is contrary to what is often seen as the Victorian feminine ideal, meek and submissive
the Victorian times were not known for women using their voice to turn down suitors or choose their own husbands, making this poem unique and quite effective in shining a light on women’s rights in marriage and sex, in this sense the speaker is defying societal expectations, like Nora
her unwavering bravery and resilience is a quality not many women had or expressed during this time
No, Thank You, John
patriarchal figure attempting to command, refusal to be commanded
his persistence is almost infuriating and the speaker puts emphasis on her irritation with the alliterative “wax weariness” while the words “do and pray” indicate his persistence in persuading her
those imperatives are commanding her: but she refuses to be commanded
No, Thank You, John
tiredness, exhaustion, disillusionment
the verb ‘wax’ means increase, she is growing tired of his pleading, the alliterative ‘wax weariness’ gives emphasis to her irritation
No, Thank You, John
refusal to be silenced, the male as the more childish character
the line “no fault of mine” suggests that John is projecting the blame onto the speaker for making him unhappy but the speaker refuses to submit to the social convention that assumed that women ‘lead on’ or ‘entrap’ men in some way
the suggestion that women are to blame for men’s feelings is strongly refuted by the speaker, who is clearly a very confident woman who not only refuses her suitor, but also forces him to see the truth of his situation instead of blaming her
she refuses to become silenced and submissive
she also later makes it clear that she’s never been “false” or misled him and says that he himself has created this relationship without any input from her, “who owed not to be true” - refusing to be blamed for his delusions
No, Thank You, John
lack of genuine love, appearances
the alliterative choice of “Meg or Moll” brings into light the names yet simultaneously makes them the same and interchangeable
there isn’t any reason to differentiate between these second-choice girls, they are all the same for his purposes – as perhaps is she, for there is little to suggest he genuinely loves her and isn’t just seeking a relationship for the sake of appearances
No, Thank You, John
criticism of marriage
her choice of “can’t perform” suggests that the speaker rebuts the idea that marriage comes before love and that love can be ‘learned’ or will come later in the union
she seems to believe that Victorian loveless marriages are a “task” to be performed, a chore instead of a joyful blessing
she does not want to marry someone she doesn’t love for the sake of societal expectations
Rossetti in her own life, clearly held the view that it is better to be unmarried than be unhappily married, perhaps this poem is a criticism of Victorian marriages and the idea that love is not important in a union
No, Thank You, John
the man as the more childish and immature character
the initial rhetorical question “I have no heart?” seems to suggest that she is repeating an accusation flung at her by ‘John’ in his growing anger at her refusal of him
this implies that he is the more childish and immature one, resorting to insults and being unable to have a serious conversation because he isn’t getting what he wants from her
however, she remains calm and measured, refusing to be a victim – much like the dynamic between Nora and Torvald by the end
No, Thank You, John
criticising the male figure
she bluntly calls him “mad” and the single-line imperative “use your common sense” almost treats him like a child being rebuked instead of an equal, or supposedly superior
link to when Nora suggests that Torvald is small minded for firing Krogstad for petty reasons
No, Thank You, John
maturity and moral growth
the speaker becomes more friendly and conciliatory, willing to offer him friendship and to put this conflict in the past (she is the more mature one)
that friendliness quickly turns sarcastic when she says: “I’d rather answer “No” to fifty Johns / Than answer “Yes” to you” – hyperbole demonstrating her persistence
the speaker finds herself tired of the argument going between them and she finally agrees to “wink at your untruth” and be tolerant, demonstrating maturity – agree to disagree, yet they both know it is an “untruth”
No, Thank You, John
female strength and persistence
throughout the poem, she remains insistent and persistent in her decision and stays firm, saying that she does not have love to give him and so will not be able to marry him
even the last line of the poem shows that she is still persistent in her decision and completely unequivocal: “but love,– / No, thank you, John.”
No, Thank You, John
instructing him to move on and grow
the beautiful and comforting imagery of “song-birds”, “days of youth” and “pleasant days” indicate that life is too short to be spent arguing and holding a grudge
“Catch at today” encourages him to move on from her, and spend his time in more pleasant pursuits
links to Nora telling Torvald to move on and grow, so he can become his own person, like she is about to do
No, Thank You, John
lack of anger and cruelty
the language of conciliation and war imagery in “open treaty” suggests her determination; the “treaty” ought to bring peace, if both parties stick to it
she is not cruel or angry at him and instead suggests that she will still offer him friendship if that is what he chooses, leaving the decision to him
like Nora at the end of the play is not angry or cruel towards Torvald, she is merely exhausted and disillusioned
No, Thank You, John
Torvald and John
the speaker also makes an appeal to his pride, when she says “rise above / quibbles”
the use of word “quibble” makes their disagreement seem childish and petty again, the ‘quibbles and shuffling’ suggest he is rather child-like, unable to face reality and rejection, perhaps whining for her to relent, much like Torvald
No, Thank You, John
female empowerment
this poem seems to have an underlying message of female empowerment, reinforced by the lack of a male voice in the poem
Rossetti was a supporter of women’s rights, and here the speaker makes clear that she will not be persuaded or duped by the pleadings of a man who seems to use every means to project responsibility for his unhappiness onto her
the tone is sarcastic and assertive and she refuses to be silenced, instead the male voice is silenced
Rossetti’s syntax and use of language is interesting; there is a forceful removal of the “male voice” and she only allows the speaker’s voice to be the sound of the poem, reinforcing this sense of female empowerment
No, Thank You, John
moving on
the poem ends with the title, “No, thank you, John”
this cyclical device contains and encircles the poem, drawing it to a neat end and could perhaps be symbolic of the speaker choosing to move on with life and close off this memory/event in her mind, hence the full-stopped line
No, Thank You, John
(a woman’s right to say no and refuse societal conventions, doing what is in her own interests rather than living for someone else)
the idea of a woman’s choice and determination in relationships in seen in this poem, in which the speaker is in no doubt as she firmly rejects a potential suitor in whom she has no interest
from start to finish, she resists John’s entreaties (we ‘hear’ some of his comments through reported speech) as she deploys impeccable logic and effectively turns his own arguments against him
what this poem asserts is the woman’s right to say ‘no’ and to claim independence and agency for herself, certainly, she is not to be bullied into a relationship because a man or social convention more generally demands it
like Nora, who at the end refuses to give into Torvald’s pleas and refuses societal conventions, doing what is in her own interests rather than living for someone else
No, Thank You, John
challenging the idea that women are meant to serve and live for men
one of the many ideas about women during this time was that they serve men and rarely get a chance to say “No, Thank You”
they were created by God for the pleasure and entertainment of men, and were thus meant to serve said gender in all forms and shapes on Earth
both Nora and this speaker challenge this idea that women are meant to serve and live for men, instead making the decision to live for themselves
No, Thank You, John
blaming women and pathologising/reducing their resistance
in ADH, Torvald tells Nora “Stop being theatrical”, “now you have destroyed all my happiness” and that he has been “condemned to humiliation and ruin simply for the weakness of a woman”
in this poem, John sees the speaker’s resistance as the irrational thoughts of a women who is incapable of making her own decisions
the speaker doesn’t want love but he keeps persisting, blaming her for his unhappiness and calling her heartless
in both instances, the woman is blamed and seen as having some kind of defect, simply for resisting
No, Thank You, John
strength of the female voice
the speaker in the poem chooses her own destiny, which is contrary to Victorian belief as it was expected for the woman to accept any marriage proposal
this is similar to Nora at the end of the play as she chooses her own destiny rather than staying her same passive role
the regular rhythm of the poem reflects the strength of the woman and her dominance, similar to Nora at the end of the play when she states she is “perfectly sane” suggesting the power women can hold when they learn their worth
No, Thank You, John
women’s roles in society
the poem suggests all passive women are the same (“Meg or Moll”) and that all men see women for the same thing
this is much like Nora breaking away from the men who have done her a “great wrong” in the final scenes, she realises she was just a ‘doll’ for both her father and Torvald
this links to the speaker who suggests that marriage is a “task” and women have to take on a role of passiveness within that and it is this which gives her the power to say no
No, Thank You, John
radical texts
both the texts were fairly radical for their contexts as they depict empowered women who have the strength to break away from the roles that are imposed upon them
Good Friday
separation and isolation from religion and wider society
the speaker wishes to join the crowd who weep for Christ, but says that she is not like ‘fallen Peter’ who wept bitterly over the death of Jesus’
she is also not like ‘those women’ who loved Christ and lamented over his crucifixion, wailing and mourning for him
she is also not like the thief who was also crucified with Christ and recognised his innocence - perhaps the speaker feels remorse for not being able to weep at Christ’s crucifixion or recognise his innocence as the thief did, feeling helpless and separated from the experience
like Nora feels separated from wider society, so she seeks to learn about religion and the world
“I, only I” — chilling in its isolation, she feels truly alone and detached from everyone else, like Nora
Good Friday
someone to show the way
the speaker needs Christ to show her the way, unlike Nora who will have to undergo her journey alone
Good Friday
hope, progression and growth
the rhyme pattern of the first two stanzas runs ABBA, but the pattern of the final two runs ABAB — this change in the pattern can be seen to reflect the change that the speaker undergoes
by enclosing rhyming couplets within the centre of the first two verses, Rossetti structurally expresses the entrapment that the speaker feels as she attempts to break out of her numb state and to become more like a sheep than a stone
as she comes closer to a realisation that Christ is powerful enough to ‘smite a rock’ and therefore, powerful enough to enable her to feel, the structure of the poem changes to reflect this
while the scheme ABBA reflects a static position, the scheme ABAB suggests an onward movement and progression, thus suggesting hope that the speaker can be reached by Christ — similar to the hope at the end of ADH that Nora will be able to reach true freedom
Good Friday
weariness and exhaustion
the stress falls on the ‘s’ sound of the words stone, sheep and stand
Rossetti uses this sibilance to create a repetitive and weary tone which appears to be voicing questions that have already been asked many times before – similar to Nora’s weariness and exhaustion
Good Friday
painful, slow experience
the description of blood slowly dripping down from Christ’s body is an indication of the painful and slow process of crucifixion
links to Nora’s own painful and slow journey towards independence and freedom
Good Friday
validation of women’s feelings and emotions
by choosing to consider first the ‘women’ who ‘with exceeding grief lamented Thee’, Rossetti acknowledges the legitimacy of their emotions as a valuable part of the crucifixion narrative
in the Victorian period, women’s feelings were often seen in a negative light but here, Rossetti challenges this conception and suggests that the women were right to lament as they did
Good Friday
changing contexts
both of the texts are written at a time of change
in Britain, people were starting to question faith, which is perhaps why Rossetti places so much significance on one being able to feel religious as God’s love is unquestioning even in times of doubt
in Norway, the feminist movement was starting to pick up pace, particularly after 1879 and women were starting to question their role in society and want to be seen as equal
Good Friday
challenging Christian notions
A Doll’s House takes place at Christmas time and challenges the traditional family
it can also be read as a criticism of marriage and since Nora leaves her husband and children, she is defying Christian teachings
Good Friday presents a speaker who is unable to be moved by the central Christian holiday that even affected the world on a cosmic level
Good Friday
death and rebirth
Nora has to ‘die’ in order to be free from her repressive roles and is reborn as a new woman who refuses to be seen as just a mother or a wife
the poem takes place during the resurrection of Christ, and the volta at the end of the poem reflects a shifting of attitudes and a rebirth of faith — similar to Nora at the end of the play
the honesty of language throughout the poem is similar to Nora’s clarity at the end of the play and links to her awakening and casting aside of any false pretences
Goblin Market
marriage
critics offering a biographical analysis of ‘Goblin Market’ have been quick to point out that Christina Rossetti herself, although she was courted by several suitors, never married
is the ‘market’ of ‘Goblin Market’ the Victorian marriage market, and the goblins the ugly and rapacious suitors who lecherously use their wealth to attract a young wife?
marriage in the Victorian era was often a financial arrangement as much as (or even more than) it was a matter of love and romance, and represented the only chance of financial stability and security for many women
Goblin Market
sexual relationships
Torvald’s physical manipulation of Nora shows his disregard for her as she is his “doll”, he treats Nora “gently but firmly”, she is his “most treasured possession”
he implies that as Nora is his wife she does not have the right to refuse him of anything, including sexual relations
in Goblin Market, the moral of the poem seems to be that women should not give into their sexual desires and should instead devote themselves spiritually
Rossetti shows how tempting sexual desire is but that it should not be listened to (“We must not look at goblin men, We must not buy their fruits”)
Goblin Market
temptation and the forbidden
Dr Rank declares his love for Nora as he is dying (“I have loved you as deeply as anyone else”), his love for Nora is not only forbidden by her because she is married, but because he is dying
symbolism of the “macaroons” - Nora finds these so attractive because they have been explicitly forbidden by Torvald
Goblin Market appears to be a cautionary tale against female desire, there is religious allegory of sin and redemption
“She sucked and sucked and sucked” has sexual connotations
Twice
risks
the speaker has decided to offer her heart by making a confession of love, she presents the idea that she has control over her heart and can choose what to do with it
however, the imagery suggests vulnerability, the narrator is taking a risk and exposing herself to the potential of rejection
the speaker is laying herself open to pain – both she and Nora take very big risks
Twice
inadequacy of earthly love and passion
the inclusion of brackets signifies earthly love, something perhaps to be set aside, not crucial for life
the later reference to ‘O my God’ has no brackets, which is significant and suggests the opposite
the repetition of ‘O my love’ suggests passion, but Rossetti seems to suggest that such earthly passion will only result in heartache and pain, passion for God is the only appropriate type of love
Twice
underlying defiance and resistance
“Yet a woman’s words are weak: You should speak, not I” – The narrator is, on the face of it, handing control to the man, conforming to the social norm that men have power over women
her tone could be sincere, or perhaps bitter, but she clearly shows that she wants to speak in this stanza and wants to be heard
yet there is a passive defiance underlying the stanza, she seems to be accepting the prevailing attitude, that men should have control, but by ending the stanza with ‘I’, she gives herself the last word
Twice
defying stereotypes
the speaker projects outwardly the opposite of what she feels, she smiles despite her broken heart
the imagery of her heart being broken as it is ‘set down’ is very powerful, but even more powerful is the fact that she ‘did not wince’
she defies the expectations of Victorian society, where women were said to be feeble and emotional, here the speaker is self-controlled
Twice
independence and reclaiming power and control
“I take my heart in my hand” is repeated, suggesting a reclaiming of power and control, she possesses her own heart
“My broken heart in my hand” shows that she is able to pick up and repair her own broken heart – independence
Twice
appearances, superficiality
“Both within and without” – unlike the man, God would scan her heart thoroughly, where the man looked merely at the surface, God looks at the depths of each individual
links to how Torvald only values Nora for her appearance, he makes no effort to look within her or value her for who she really is
Twice
complacency and submission
her submission to God is absolute, this links to the last two lines of the first stanza, where the narrator submits to the man she has feelings for
we see parallels between romantic love and religious devotion, that both involve obedience - romantic love for a woman involves obedience to a man, but obedience to God is seen as positive and a form of power
Twice
control and autonomy
the poem shifts in the second part to a permanent love brought about by religion and rebelling against society’s expectations
Nora regains control of her identity at the end of the play by also rebelling against society and the roles forced upon her
the speaker regains control of her heart and chooses what to do with it, eventually making her own decision to dedicate herself to God
Twice
masculine judgement
“critical eye” suggests that men don’t marry for love but for economical worth, similar to Torvald as it is suggested he never loved Nora, he only wanted to have the appearance of a perfect family
it is a man that stands between the speaker and fulfilment through religion, much like Torvald stands between Nora and becoming an independent human being
Twice
bird imagery
both the women are trapped
in the poem, birds should be a symbol for joy, but it traps her in unfulfilment as she is commanded to wait for the birds to sing
Torvald calling Nora a bird traps her in her role as a passive mother
Winter: My Secret
desire to keep control of a secret, facade, control and power
her ‘wraps’ afford a kind of safety, not only from the cold, but from the prying eyes of onlookers who are waiting to know her secret
the suggestion that she wears her ‘mask for warmth’ indicates that it offers comfort to her, as she can hide behind it and avoid revealing herself
her secret, then, forms part of her identity, which she prefers keeping hidden beneath the disguising ‘cloak’ and ‘mask’
she feels that by revealing her secret, she would be revealing too much of herself – much like Nora’s desire to keep her secret as a form of control and power, as well as Nora’s façade
Winter: My Secret
clothing linking to disguise and secrecy
a shawl, veil, cloak, wraps are all metaphors for disguise and secrecy
link to ADH, in which clothing is also a façade and reveals a lot about each character
for example, Nora’s tarantella dress symbolises Torvald’s control over her as well as her façade of naivety and childishness
Winter: My Secret
unreliable, untrustworthy, not meeting expectations
spring is usually portrayed in a positive light in poetry, but the speaker describes it as a season she cannot trust, as it is too changeable and unsettled, it cannot be relied upon
this could be understood as referring to the changeability and unreliability of human nature - though spring holds the promise of pleasantness and beauty, just as the listener promises not to ‘peck’ at or judge her should she reveal her secret, such promises cannot be relied upon
just as the beauties of spring can be marred by changes in the weather, so too can human nature reveal itself to be ugly and fickle, despite the best of intentions
this explains that the beautiful season doesn’t hold the high expectations she thought it would, much like Nora cannot rely on Torvald and he fails to live up to her expectations, not standing up for her or supporting her when her own secret is revealed
Winter: My Secret
manipulation, teasing, retaining control until the end
the last four lines show that the narrator is still teasing the person they are talking to
she states that conditions must be just right, ‘not too much sun nor too much cloud’, but this is a vague set of values which may never happen, the narrator could always say that the conditions are not quite right and not reveal her secret
the fact that she uses the word ‘perhaps’ indicates that there is no guarantee of ever knowing the secret – she retains control until the very end
Winter: My Secret
female agency and power, possessiveness
throughout the poem, the speaker refers to her secret as something which she holds in her possession, she suggests that it is her property and therefore, it is solely up to her who she reveals it to
image of female control and power
this deviates from the typical Victorian view of women, that they submitted to the man’s demands, but here the speaker refuses to give in, even manipulating the listener and saying that she will only reveal her secret if she wants to
she has agency and control
Winter: My Secret
identity
the use of the personal pronouns ‘my’ and ‘I’ throughout the poem point to the speaker’s sense of her individual identity
holding a secret gives the speaker a strong sense of identity
the first line both begins and ends with the pronoun ‘I’, which suggests that the speaker encloses her secret within her own individual identity and that nothing can break through and disturb the concealed interior
this is a strength and sense of identity that Nora seeks to achieve by keeping her secret and that she takes steps towards by leaving at the end of ADH
Winter: My Secret
nonsense, manipulation, control
the speaker suggests that she may be only teasing the listener when she declares that her secret may be ‘just my fun’
Nonsense was the poem’s original title in the manuscript version and hints at the playfulness of the speaker’s tone as well as her manipulation
the revelation that there may in fact be ‘no secret after all’ suggests that the poem is more about the act of concealment and the practice of secrecy than it is about a particular secret itself
it seems to be a way for the speaker to exert some form of control and manipulation – similarity to Nora
Winter: My Secret
secrecy
Nora is proud of her secret, much like the speaker is comforted by her secret as it gives her power
similar to Nora as this secret gives her a sense of purpose and it gives them identity, not just to be seen as passive unknowing women
however, Nora can only truly be a human being and have her own identity one she exposes the truth, but it is the secret that gives the speaker her identity and gives her control over men
Winter: My Secret
empowered women
the secret gives her speaker power as it provides her with protection by allowing her to control men (or anyone who seeks to know her secret)
the free structure of the poem reflects the free woman from society’s expectations
for Nora, the freedom and defiant tone of her speech reflects her power at the end of the play, and the final act of her slamming the door is the ultimate closure upon society’s expectations of her and the start of her new life
