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# Victorian poetry and dramatic monologues Victorian poetry, particularly through the dramatic monologue form, critically examined Victorian society's power dynamics, gender roles, and social issues, often revealing morally ambiguous characters and their motivations [38](#page=38). ### 1.1 The Victorian era and its poetry The Victorian era is generally periodized from 1837 to 1901, named after Queen Victoria. This period was characterized by dramatic social and political changes, significantly influenced by the Industrial Revolution and subsequent technological advancements. Victorian poets, while continuing some themes from Romanticism, began to address social and political issues more directly, focusing on topics such as the working poor, women, and children [36](#page=36) [38](#page=38). #### 1.1.1 Prominent Victorian poets Well-known Victorian poets include Alfred Lord Tennyson, Robert Browning, Elizabeth Barrett Browning, Matthew Arnold, Christina Rossetti, Dante Gabriel Rossetti, Robert Louis Stevenson, Oscar Wilde, William Butler Yeats, Rudyard Kipling, and Thomas Hardy [37](#page=37). ### 1.2 The dramatic monologue The dramatic monologue, also known as a 'persona poem', emerged as a popular form in Victorian poetry, influenced by Romantic poetry and notably popularized by Robert Browning. A monologue is defined as a lengthy speech by a single person [38](#page=38) [39](#page=39). #### 1.2.1 Features of the dramatic monologue Key characteristics of the dramatic monologue include: * A single character, not the poet, narrates the poem and assumes a specific voice [40](#page=40). * The speaker addresses and interacts with one or more listeners, whose presence is implied but their actions and words are generally limited by the speaker's narrative [40](#page=40). * The primary goal is to reveal the speaker's temperament, character, personal traits, conflicts, and motivations [40](#page=40). * Common themes explored are identity, morality, love, and social criticism [40](#page=40). > **Tip:** Understanding the dramatic monologue requires distinguishing between the poet's voice and the persona adopted by the speaker. #### 1.2.2 Robert Browning Robert Browning (1812-1889) was a highly educated Victorian poet renowned for his dramatic monologues. His works often feature vivid imagery and explore complex, morally ambiguous characters. His first long poem was "Pauline: A Fragment of a Confession," and he married Elizabeth Barrett in 1846 [41](#page=41). > **Example:** Browning's ability to delve into the psychology of his characters makes his dramatic monologues particularly compelling. #### 1.2.3 "My Last Duchess" "My Last Duchess," written in 1842, is one of Robert Browning's most famous dramatic monologues. It is believed to be inspired by Alfonso II d’Este, the Duke of Ferrara. The poem reflects Victorian attitudes towards the aristocracy, gender roles, and the paramount importance of appearances [42](#page=42). ##### 1.2.3.1 The painting as a symbol of power and control The poem uses the Duke's description of a painting of his "last duchess" to convey themes of power and control. The painting depicts the duchess as an objectified piece of art, essentially the Duke's property. Her voice is silenced, and her image is only accessible when the Duke permits it, underscoring his complete control. The fact that he is proud to have her painted by a specific artist also signifies her status as a status object. This objectification and control imply that the Duke was responsible for her death, an ultimate act of power [44](#page=44) [46](#page=46). ##### 1.2.3.2 Gender roles and the "Angel in the House" Victorian society had rigid gender roles, often influenced by concepts like John Ruskin's "Of Queen's Gardens," which posited men as active creators and defenders, and women as passive rulers within the domestic sphere, primarily responsible for "sweet ordering, arrangement, and decision" and for providing "Praise". Women were expected to be protected from the harshness of the outside world, with home serving as their sanctuary [48](#page=48) [49](#page=49). The concept of the "Angel in the House," popularized by Coventry Patmore's poem, became a middle-class ideal for the Victorian wife. This ideal embodied purity, self-sacrifice, humility, and devotion to her husband and family. Such an ideal wife was seen as the moral backbone of the family, obedient, passive, prioritizing her husband's needs, and possessing gentleness and compassion. This aligns with the notion of "separate spheres," where women were confined to the domestic sphere while men occupied the public sphere [51](#page=51) [52](#page=52). > **Tip:** The "Angel in the House" ideal was a prescriptive social construct, not necessarily reflective of all women's realities. ##### 1.2.3.3 Legal situation of women Legally, married women in the Victorian era were subject to coverture, meaning their legal identity was subsumed by their husband's. They could not own property, enter contracts, or earn an independent income; any property they brought into marriage became their husband's. Unmarried women were under the legal identity of their father or a male relative [55](#page=55). However, several laws were passed to gradually grant women more rights: * Custody of Children Act 1839 (guardianship of children) [56](#page=56). * Matrimonial Causes Act 1857 (divorce) [56](#page=56). * Married Women’s Property Act 1870 and Married Women’s Property Act 1882 (property rights) [56](#page=56). It is important to note that "My Last Duchess" was published in 1842, preceding some of these key legal reforms [57](#page=57). ##### 1.2.3.4 Implicit instances of power and control in "My Last Duchess" Browning criticizes the objectification of women and the power wielded by husbands through "My Last Duchess". The painting serves as a potent metaphor for women being treated as property. The Duke's control over the display of the painting, and his implied control over his wife's life, are further examples [58](#page=58). Other implicit instances of power and control in the poem include: * The Duke's social position as an aristocrat [60](#page=60) [62](#page=62). * His wealth, which is often a source of power [60](#page=60) [62](#page=62). * His interaction with and the subservient position of the listener (the envoy) [60](#page=60) [62](#page=62). * The form of the dramatic monologue itself: the poem is narrated by a male voice, presenting only the Duke's perspective, reinforcing his control over the narrative and the audience's perception [62](#page=62). --- # Feminism and literary rewritings This section explores feminist literary theory, focusing on the male gaze, gender roles, and feminist rewritings of classic fairy tales, particularly Angela Carter's 'The Bloody Chamber' as a reimagining of Perrault's 'Bluebeard' [68](#page=68). ### 2.1 Feminist literary theory and concepts Feminism, in general, posits that women have historically been marginalized and that gender inequality persists due to men often being prioritized in society, leading to unfair treatment of women. Feminist movements, categorised into four waves (first wave: late 19th-early 20th century; second wave: 1960s-1980s; third wave: 1990s onwards; fourth wave: around 2012), emerged as a reaction against centuries of patriarchal societal structures that denied women legal status [77](#page=77). #### 2.1.1 The male gaze A crucial concept in feminist film theory and visual culture is Laura Mulvey's "male gaze". This theory describes how visual arts, especially cinema, are structured around a masculine perspective, presenting women primarily as objects for male pleasure. Viewers are encouraged, consciously or unconsciously, to adopt this male perspective. This is visually implemented in illustrations of Perrault's fairy tale, where the Marquis is depicted looking down at the protagonist with a fixed stare, while she appears delicate and fragile [65](#page=65) [86](#page=86). #### 2.1.2 Objectification, power, and control in literature Objectification links to notions of power and control, as well as innocence and experience. In traditional fairy tales, women are often presented as possessions or objects for male pleasure, a concept highlighted by the presence of mirrors which facilitate the male gaze [65](#page=65) [88](#page=88). > **Tip:** Pay attention to how objects like jewelry or symbolic items are used to represent ownership and control over female characters. ##### 2.1.2.1 The Lilies The lilies symbolize manipulation and love-bombing, and their poisonous nature, coupled with the fact that the Marquis filled the protagonist's room with them, foreshadows death and stains her experience. The association of lilies with funerals further emphasizes this connection to death [65](#page=65) [89](#page=89). ##### 2.1.2.2 The Ruby Choker The ruby choker represents possession and objectification, akin to a dog's collar, which the protagonist wears for the Marquis and finds restraining. The red color is symbolic of blood and love, suggesting that the presented love is not pure or true and foreshadowing her death [65](#page=65) [90](#page=90). ##### 2.1.2.3 The Opal Ring The opal ring embodies power and control, symbolizing possession and marking the wives as the Marquis's property, thus victimizing them. It also represents innocence, as the protagonist believes she is special due to it being a family heirloom. The ring serves as a lure for women, with the intention of being reused. The opals themselves are associated with bad luck [65](#page=65) [91](#page=91). ### 2.2 Literary rewritings of classic fairy tales Feminist rewritings are reinterpretations or reimaginings of classic texts from a feminist perspective, aiming to challenge traditional gender roles and highlight women's experiences. These rewritings are popular and use established characters, plotlines, and settings to create new stories, alternative plot lines, or endings. They may retell a story from a different point of view or update its setting. The effect of a rewriting is amplified by the reader's familiarity with the original text [78](#page=78). #### 2.2.1 Charles Perrault's "Bluebeard" Charles Perrault (1628-1703) was a French writer and poet known as a pioneer of the fairy tale genre. His collection, "Histoires ou contes du temps passé, avec des moralités" (Tales and Stories of the Past, with Morals), was published in 1697. "Bluebeard" ("Barbe Bleue") was first published in 1697 and is considered one of his most famous tales. It is an early example of a dark, cautionary fairy tale aimed at both children and adults. The tale has been adapted into various forms, including other fairy tales, narrative texts, and operas [69](#page=69) [70](#page=70). ##### 2.2.1.1 Typical fairy-tale elements in "Bluebeard" "Bluebeard" contains several typical fairy-tale elements: * Bluebeard's name is based on a physical feature [74](#page=74). * It features a formulaic opening [74](#page=74). * There are multiple references to gold and silver [74](#page=74). * Reflecting surfaces like mirrors are present [74](#page=74). * A magical object, the key, is central to the plot [74](#page=74). * While the protagonist remains nameless, her older sister Anne's name is revealed [74](#page=74). * The story includes repetition of a question, "if someone is coming their way" [74](#page=74). * The tale also includes poetic justice, a young, innocent female character, and two morals at the end. The setting includes a remote castle and a tower [64](#page=64). ##### 2.2.1.2 Temporal and spatial setting in "Bluebeard" The temporal setting spans approximately five weeks. The spatial setting includes a castle, described as a remote place conducive to loneliness, and a tower, which can be interpreted as being closer to divinity. A significant location is the forbidden chamber, found down a staircase in a secret alleyway, likened to hell. This chamber contains the bodies of the Bluebeard's previous wives, with their throats cut open, creating a profound sense of horror [64](#page=64) [65](#page=65). #### 2.2.2 Angela Carter's "The Bloody Chamber" Angela Carter (1940-1992) was a British novelist, short story writer, and poet, whose notable works include "The Bloody Chamber". The collection "The Bloody Chamber" was published in 1979 and features short stories based on folk and fairy tales, including reinterpretations of "Bluebeard," "Beauty and the Beast," "The Erl King," and "Little Red Riding Hood" [79](#page=79) [80](#page=80). ##### 2.2.2.1 "The Bloody Chamber" as a feminist rewriting of "Bluebeard" Carter's "The Bloody Chamber" can be considered a feminist rewriting of "Bluebeard" in several ways [100](#page=100). * **Character Transformation:** The hero has been changed; it is no longer the two brothers. The protagonist is not happy about the marriage [66](#page=66). * **Empowered Female Figures:** The protagonist's mother exists and is portrayed like a war general, shedding feminine attributes and taking on the role of a male hero. She is an active, battle-ready woman who raised her daughter alone after the father's early death [66](#page=66). * **Protagonist's Agency and Development:** The story features more female characters, and the hero is a woman. The protagonist realizes she is trapped, and characters are more developed with insights into their backgrounds, motivations, and internal views [66](#page=66). * **Narrative Power and Voice:** The narrative power relies on the protagonist, and no male voice is presented as dominant. The ending conveys a feminine message [66](#page=66). ##### 2.2.2.2 Protagonist in "The Bloody Chamber" The protagonist is characterized as naive and innocent, aged 17. She enjoys playing the piano and musicals. Upon marrying a rough man, she becomes his possession and is isolated in the house, not allowed to socialize with the staff. Her mother's migration from Vietnam to France influences her, impressing her with her mother's actions at a similar age. The protagonist is an autodiegnetic narrator. She represents innocence, contrasting with the Marquis's experience, which is conveyed through his previous wives (sexual experience), his older age (life experience), and his cultural knowledge displayed in paintings. He refers to her as his "baby" and "child" and shows no emotion [64](#page=64) [82](#page=82). ##### 2.2.2.3 Objectification in "The Bloody Chamber" The protagonist is objectified in multiple ways. Her husband forces her to replicate a painting. The pervasive use of mirrors contributes to the male gaze, presenting women as objects for male pleasure. The Marquis's physical appearance, his creepy stare, and the way he looks down at her reinforce this objectification [65](#page=65) [85](#page=85). ##### 2.2.2.4 Fairy-tale elements in Carter's rewriting Carter's rewriting incorporates traditional fairy-tale elements while subverting them. These include shiny objects like mirrors and jewelry, and the magical element of the key. The protagonist and her mother remain nameless, mirroring a fairy-tale convention. The Marquis is described in a way that evokes vampiric qualities. The story features poetic justice, and the protagonist, after her marriage, donates money to charity [66](#page=66) [96](#page=96). ##### 2.2.2.5 Changes made by Carter Carter made significant changes in her rewriting. The hero is altered; it's not the two brothers. The protagonist is unhappy with the marriage. A strong maternal figure is introduced, described as a war general who takes on the role of a male hero. The narrative power shifts to the protagonist, and the male voice is not as dominant [66](#page=66) [97](#page=97). ##### 2.2.2.6 The role and function of Jean-Yves Jean-Yves plays a crucial role in the story. He serves as a source of consolation for the protagonist during her despair. He offers unexpected help, attempting to aid her in hiding from her husband. He acts as a confidante and a lover. Significantly, he is blind, which prevents him from objectifying the protagonist. He is the only character to have a name. He is considered the "hero" of the story as he facilitates the protagonist's happy ending [66](#page=66) [98](#page=98) [99](#page=99). --- # Literary analysis of place and setting This topic explores the multifaceted significance of place in literature, examining how it is constructed through physical attributes, emotional resonance, and symbolic meaning. ### 3.1 Understanding place Place in literature can be understood through three interconnected concepts: location, locale, and sense of place [93](#page=93). * **Location** refers to the geographic position or coordinates of a setting. It is the objective, measurable space where an event occurs [93](#page=93). * **Locale** encompasses the material setting, including the tangible objects and physical features that constitute a place. This involves the observable characteristics of the environment [93](#page=93). * **Sense of place** describes the feelings and emotions that a place evokes. This is the subjective experience and meaning assigned to a particular setting [93](#page=93). It is important to note that places do not inherently possess significance; rather, they acquire meaning and value through the interpretations and assignments made by individuals [93](#page=93). ### 3.2 Analyzing specific settings: The castle When analyzing a castle as a literary setting, several questions come into play to understand its role [94](#page=94). * **Location:** The significance of the castle's location should be explored. Is it situated in a remote, inaccessible area, on a hill overlooking surrounding lands, or at a strategic point of conflict? The geographical positioning can influence plot developments, character interactions, and thematic implications [94](#page=94). * **Sense of Place:** The initial feelings and emotions evoked by the castle need to be considered. Does it inspire awe, fear, grandeur, or confinement? This initial impression sets the tone and foreshadows potential events or character experiences within its walls [94](#page=94). ### 3.3 Analyzing specific settings: The forbidden chamber The forbidden chamber serves as a potent example of a significant literary setting, requiring analysis through the lenses of location, locale, and sense of place [95](#page=95). * **Location:** The specific positioning of the forbidden chamber within a larger structure (e.g., a castle, a house) is important. Is it hidden, isolated, or difficult to access? Its spatial relationship to other areas can underscore its secrecy and exclusivity [95](#page=95). * **Locale:** The tangible features and objects within the forbidden chamber contribute to its significance. What does it contain? Is it dusty and neglected, opulent but eerie, or filled with specific artifacts that hold clues or dangers? The material reality of the chamber defines its character [95](#page=95). * **Sense of Place:** The forbidden chamber typically evokes strong emotions and a particular atmosphere. It often generates feelings of mystery, danger, curiosity, dread, or temptation. The emotional resonance associated with this confined space can reflect characters' inner states or the thematic core of the narrative [95](#page=95). > **Tip:** When analyzing settings like castles or forbidden chambers, consider how their physical attributes (locale) are intrinsically linked to the emotional impact they have on characters and readers (sense of place), and how their geographical placement (location) facilitates or complicates the narrative. --- # Exam and course logistics This section provides essential practical information regarding the course, including critical details about the upcoming exam, acceptable and prohibited items, the exam's structure, and the importance of effective note-taking strategies. ### 4.1 Exam details The primary exam is scheduled for Wednesday, 11 February 2026. It will commence at 12:00 and conclude at 15:00, with the total duration for answering questions being 2 hours, and the remaining time allocated for essential procedures like student identification checks. The exam will be held in Lecture Hall X, located within the main university building [6](#page=6). #### 4.1.1 Required materials To be eligible to take the exam, students must bring the following items [7](#page=7): * A valid student ID card. * A secondary form of official identification, such as a "Personalausweis" (German ID card), passport, or any other government-issued photo identification. * At least two pens, to ensure a backup is available in case one malfunctions. * A bottle of water. #### 4.1.2 Prohibited items The following items are strictly prohibited during the exam [8](#page=8): * All course materials, including books, course readers, photocopies, and personal notes. * Any electronic devices. Students are instructed to store their smartphones securely in their bags. #### 4.1.3 Exam structure The exam will be divided into three distinct parts, corresponding to the lecture, tutorial, and "Übung" (practice session) components of the course. The question distribution is as follows [9](#page=9): * **Lecture:** Students must answer 4 out of 6 questions. * **Tutorial:** Students must answer all 6 questions. * **Übung:** Students must answer 4 out of 6 questions. The exam will consist solely of essay questions and will not include any multiple-choice questions. Answers are expected to be formulated in complete sentences [9](#page=9). ### 4.2 Mock-exam and preparation An asynchronous session will be held on 22 December, where students will not meet in person. During this period, mock-exam questions will be made available on e-Campus. These mock questions will be accessible until 31 December. The duration of the mock exam will vary, ranging from 15 minutes to 1¼ hours, depending on the student's level of preparation. It is important to note that the mock exam cannot be retaken . ### 4.3 Note-taking strategies Effective note-taking is highlighted as a crucial element for success in the upcoming exam. All material discussed during the course is considered relevant for exam preparation. While the PowerPoint presentations (PPPs) are designed to aid studying, they are not exhaustive and may not contain all the answers to potential exam questions. Given that exam questions will be based on the texts discussed in class, students are strongly advised to take detailed notes of classroom discussions [11](#page=11). > **Tip:** Actively listening and summarizing key points during lectures and discussions will provide a deeper understanding than passively reviewing presentation slides alone. This will be particularly beneficial for the essay-style questions that require comprehensive answers. ### 4.4 Course continuation Following a break for Christmas and New Year, the course will resume in January 2026. Students are reminded to read Margaret Atwood’s short stories “The Weather” and “The Moment,” which are part of the Ecocriticism module, in preparation for the next meeting . --- # Poetic concepts and examples This section introduces fundamental poetic concepts, including Wordsworth's definition of poetry and the notion of the sublime, alongside an analysis of poetic devices and imagery within specific poems [13](#page=13) [14](#page=14). ### 5.1 Wordsworth's definition of poetry William Wordsworth, in his "Preface" to the *Lyrical Ballads*, defines poetry as "the spontaneous overflow of powerful feelings". He elaborates that poetry originates from emotion recollected in tranquility. This process involves contemplating an emotion until, through a kind of reaction, the initial tranquility gives way to a kindred emotion that actually exists in the mind. The composition of poetry typically begins and continues in a similar mood. The emotion, regardless of its type or intensity, is qualified by various pleasures, leading the mind to a state of enjoyment when describing passions voluntarily [15](#page=15). > **Tip:** Focus on Wordsworth's emphasis on emotion, recollection, and the resulting mental state of enjoyment as key components of poetic creation. ### 5.2 The sublime The concept of the "sublime," as discussed by Edmund Burke, refers to experiences that evoke awe, terror, and a sense of overwhelming power, often related to vastness, infinity, or obscurity. Such experiences can challenge human comprehension and generate a mixed feeling of pleasure and fear [16](#page=16) [29](#page=29). #### 5.2.1 The sublime in "Composed Upon Westminster Bridge" In "Composed Upon Westminster Bridge," the speaker can evoke a sublime feeling in the "Lyrical I" through the depiction of London. This is achieved by presenting the city as a vast, sleeping entity, almost personified, whose grandeur and stillness inspire awe. The scale of the city, even in repose, suggests immense power and a beauty that transcends the ordinary, fitting the Burkean definition of the sublime through its overwhelming visual impact and the profound emotional response it elicits [29](#page=29). > **Example:** The poem describes the city as wearing "the beauty of the morning; Sleepeth in her majesty" suggesting a powerful, almost regal presence that can inspire sublime feelings [29](#page=29). ### 5.3 Analysis of Blake's "London" William Blake's poem "London" presents a starkly realistic portrayal of the hardships faced by the urban poor, contrasting sharply with idealized views of the city [32](#page=32). #### 5.3.1 Form, meter, and rhyme scheme The poem employs a consistent structure, with quatrains (four-line stanzas). The meter is largely iambic tetrameter, giving it a rhythmic, almost ballad-like quality. The rhyme scheme is typically ABCB, providing a sense of order that ironically underscores the chaos and suffering depicted [17](#page=17). #### 5.3.2 The impression of London In the first stanza, the "Lyrical I" conveys an impression of London as a place of pervasive misery and restriction, where the speaker wanders through "every street" and observes "marks of weakness, marks of woe" on every face he meets. This establishes a theme of widespread suffering and the visible impact of hardship on the populace [18](#page=18). #### 5.3.3 Audible experience of London The second stanza focuses on London as an audible experience, highlighting the sounds of suffering and despair. The cries of infants, the voices of soldiers, and the fearful tales whispered by harlots create an overwhelming soundscape of distress and social ill [20](#page=20). #### 5.3.4 Further criticism in the third stanza The third stanza delves deeper into criticism, addressing the suffering of children and the restrictive nature of institutions. The "black'ning church" and the soldiers' blood "upon the palace walls" link religious institutions and the monarchy to the exploitation and suffering of the poor, continuing the theme of societal failure and lack of compassion [22](#page=22). #### 5.3.5 Highlighting despair in the fourth stanza The fourth stanza reiterates the theme of despair, describing how the "mind-forg'd manacles" seem to imprison the inhabitants, preventing them from escaping their plight. The innocent "youthful Harlot's curse" and the "plaguy Marriage hearse" signify the destructive cycle of poverty and its grim consequences, further emphasizing the pervasive hopelessness within the city [24](#page=24). > **Tip:** Notice how Blake uses sensory details, particularly sounds, to create a visceral experience of London's suffering. ### 5.4 Analysis of Wordsworth's "Composed Upon Westminster Bridge" Wordsworth's poem "Composed Upon Westminster Bridge" offers a serene and idealized depiction of London, focusing on its beauty in the early morning [32](#page=32). #### 5.4.1 Poem type and rationale "Composed Upon Westminster Bridge" is a sonnet, specifically an Italian or Petrarchan sonnet, characterized by its fourteen lines and a specific rhyme scheme (ABBAABBA for the octave and CDECDE or CDCDCD for the sestet, though variations exist). It is classified as a descriptive or Petrarchan sonnet due to its focus on a specific scene and its reflective tone [26](#page=26). #### 5.4.2 Depiction of London and stylistic devices London is depicted in this poem as a city at rest, sleeping and beautiful in the early morning light. Stylistic devices used include personification (the city "sleepeth"), imagery related to clothing (the city wears "the beauty of the morning"), and apostrophe (addressing the city directly). The absence of noise and the tranquil atmosphere are emphasized, creating a stark contrast with the harsh realities often associated with urban life [27](#page=27) [30](#page=30) [32](#page=32). > **Example:** The line "all that mighty heart is lying still" uses personification to imbue the city with a sense of life, which is then rendered peaceful through stillness [27](#page=27). #### 5.4.3 Imagery related to clothing Wordsworth uses imagery related to clothing, such as the city wearing "the beauty of the morning" to enhance the poem's aesthetic appeal. This metaphorical use of clothing suggests adornment and presentation, casting London in a positive, almost regal light. It emphasizes the visual splendor and the sense of immaculate presentation the speaker observes, contributing to the idealized view of the city [30](#page=30). #### 5.4.4 Historical context and depiction of London Considering the historical context of the Industrial Revolution, Wordsworth's depiction of London in "Composed Upon Westminster Bridge" can be understood as a deliberate focus on the city's "splendour and the beauty of an early morning". This idealized view offers a temporary escape from the burgeoning industrial grime and the social ills that were becoming increasingly prevalent. The poem focuses on a particular moment, temporally limited, emphasizing the beauty rather than the harsh realities of urban life during that era. It presents a romanticized perspective, likely a response to or a conscious counterpoint to the increasing industrialization and its perceived negative effects on the urban landscape and its inhabitants [31](#page=31) [32](#page=32). ### 5.5 Comparative view of London poems A comparison between Blake's "London" and Wordsworth's "Composed Upon Westminster Bridge" reveals two contrasting perspectives on the same city. Blake offers a realistic view of the hardships of the urban poor, portraying London as a loud, suffering, and permanent place of woe. Wordsworth, conversely, presents a highly idealized view of a specific part of the city, emphasizing its beauty, the absence of noise, and a temporally limited moment of splendor [32](#page=32). * **Horrors of the city:** Blake's "London" [32](#page=32). * **Beauty of the city:** Wordsworth's "Composed Upon Westminster Bridge" [32](#page=32). ### 5.6 Victorian Poetry Victorian poetry represents a distinct era in literary history, often characterized by its engagement with social, moral, and industrial themes [34](#page=34). --- ## Common mistakes to avoid - Review all topics thoroughly before exams - Pay attention to formulas and key definitions - Practice with examples provided in each section - Don't memorize without understanding the underlying concepts

| Term | Definition | |---|---| | Dramatic monologue | A literary form in which a single speaker, who is not the poet, narrates a poem and assumes the voice of a character. This speaker addresses one or more listeners, revealing their personality, conflicts, and motivations through their speech. | | Persona poem | An alternative name for a dramatic monologue, emphasizing that the speaker is a fictional character adopted by the poet. | | Victorian era | The historical period in Great Britain during the reign of Queen Victoria, typically dated from 1837 to 1901. It was a time of significant social, political, and technological changes. | | Objectification | The act of treating a person as an object or a thing, reducing their value to their appearance or utility rather than their inherent worth as a human being. In literature, it often involves women being depicted as possessions or for male pleasure. | | Male gaze | A concept from feminist film theory describing how visual arts are structured around a masculine perspective, presenting women as objects of male desire and pleasure. Viewers are often implicitly encouraged to adopt this viewpoint. | | Feminism | A range of social movements, political movements, and ideologies that aim to define and establish the political, economic, personal, and social equality of the sexes. Feminist movements often react against patriarchal societal structures. | | Rewriting | The process of reinterpreting or reimagining existing texts, stories, or myths from a new perspective, often to challenge traditional themes or explore different aspects of the original narrative. Feminist rewritings aim to highlight women's experiences and critique patriarchal elements. | | Sublime | An aesthetic concept that refers to experiences that evoke awe, terror, or overwhelming emotion due to their vastness, power, or grandeur. It often involves a sense of insignificance in the face of something immense. | | Location | In literary geography, refers to the specific geographic position or coordinates of a place. | | Locale | In literary geography, refers to the material setting of a place, including its tangible objects and physical features. | | Sense of place | In literary geography, refers to the feelings and emotions that a place evokes in individuals or characters, encompassing subjective experiences and attachments to a location. | | Coverture | A legal doctrine in English common law under which a married woman's legal identity was subsumed by that of her husband. This meant she could not own property, enter contracts, or have an independent income. | | Industrial Revolution | A period of major industrialization and technological innovation that began in Great Britain during the late 18th century and continued into the 19th century. It brought about significant social and economic changes. | | Aristocracy | A form of government in which power is held by the nobility or a privileged upper class. In literature, characters from this social stratum often possess wealth and influence. | | Dowry | Money or property brought by a woman to her husband at the time of marriage. In historical contexts, it could be a significant factor in marriage negotiations. | | Fairytale elements | Recurring motifs, narrative structures, characters, and themes found in traditional fairy tales, such as magical objects, formulaic openings and endings, poetic justice, and often a moral lesson. |