"The Ruined Maid" is a satirical poem by Thomas Hardy. It was written in 1866 but first published, in a slightly bowdlerized form, in Poems of the Past and the Present (1901). [1] [2]
"The Ruined Maid" is a satirical poem by Thomas Hardy. It was written in 1866 but first published, in a slightly bowdlerized form, in Poems of the Past and the Present (1901). [1] [2]
Thomas Hardy's "The Ruined Maid" is a poem about a woman who loses her purity or virginity during the Victorian Era, which is looked down upon. This poem displays how the ruined maid sees herself, but also how society sees her. Though the poem takes on real issues of culture during the Victorian Era, Hardy intended this poem to be light-hearted.
The poem is presented a conversation between two people. To depict this, Hardy uses two voices: For the ruined maid he uses proper English, and for the other person he uses a working-class dialect. The poem features a couplet rhyme scheme which can often be found in satirical poetry. This form is also known as an "aabb" rhyme scheme because every two lines rhyme in each stanza.
"O 'Melia, my dear, this does everything crown!
Who could have supposed I should meet you in Town?
And whence such fair garments, such prosperi-ty?" —
"O didn't you know I'd been ruined?" said she.
— "You left us in tatters, without shoes or socks,
Tired of digging potatoes, and spudding up docks;
And now you've gay bracelets and bright feathers three!" —
"Yes: that's how we dress when we're ruined," said she.
— "At home in the barton you said thee' and thou,'
And thik oon,' and theäs oon,' and t'other'; but now
Your talking quite fits 'ee for high compa-ny!" —
"Some polish is gained with one's ruin," said she.
— "Your hands were like paws then, your face blue and bleak
But now I'm bewitched by your delicate cheek,
And your little gloves fit as on any la-dy!" —
"We never do work when we're ruined," said she.
— "You used to call home-life a hag-ridden dream,
And you'd sigh, and you'd sock; but at present you seem
To know not of megrims or melancho-ly!" —
"True. One's pretty lively when ruined," said she.
— "I wish I had feathers, a fine sweeping gown,
And a delicate face, and could strut about Town!" —
"My dear — a raw country girl, such as you be,
Cannot quite expect that. You ain't ruined," said she. [3]
The poem depicts a young country girl who has become a rich man's mistress to escape her own poverty, and does not seem to regret her decision. Her position is contrasted with that of her old friend who is still a respectable but poor country farm worker, and who seems to envy Amelia. The poem offers an ironic comment on the lives of working class women. [2] [4] Hardy implies the only way a woman can obtain independence in this society is by selling herself. [5] The ruined maid acts as an archetype and also an image that relates to social realities which are important during the Victorian Era. [6] Because Amelia is a prostitute and therefore she must be 'ruined', most women should not envy her lifestyle. But in Hardy's satirical poem, it seems obvious that the unnamed speaker is envious of Amelia because of the beautiful clothes Amelia is wearing. [7]
This poem also discusses the concept of money. During this time in history, those who had wealth were considered important in society. Amelia has money but she knows that she had to sacrifice much in order to get the money. [5]
Since "The Ruined Maid" is about two women reuniting after a long time in a strange part of town, their dialogue includes discussion of the past in order for the reader to understand the present. This poem has a parallel in which the first part of the stanza discusses Amelia's past while the second part of the stanza discusses her present. [8] Hardy uses imagery to help the reader read between the lines. The unknown speaker in the poem illustrates how Amelia's life is before by reminding her of how things had looked so long ago, and the reader can understand how things are now because of the imagery of the jewels and fine clothing. [5]
Hardy uses every word in his poems with meaning; each has a set purpose to enhance the reader's understanding of the poem. Though each word illustrates a specific emotion to show the reader how each speaker is feeling, that emotion is not necessarily specifically named. [9] The title itself has meaning; Hardy uses the word "ruin", "ruin" has an "oo" sound which is a low frequency that imitates the mood of gloom or destruction. [10]
"The Ruined Maid" is a satire and full of intended irony. Nevertheless, some critics[ who? ] argue that the poem is more serious than one might think due to what was going on in Hardy's life at the time. [11] He was young and did not have his life figured out quite yet, nor did he have much of a love life. [12]
An "opera skit" by Seymour Barab called The Ruined Maid, based on Hardy's poem, was premiered in 1981. [13] The poem was set to music by Judith Lang Zaimont as one of her Two Songs for Soprano and Harp. [14]
Edmund Spenser was an English poet best known for The Faerie Queene, an epic poem and fantastical allegory celebrating the Tudor dynasty and Elizabeth I. He is recognized as one of the premier craftsmen of nascent Modern English verse, and he is considered one of the great poets in the English language.
Kubla Khan: or A Vision in a Dream is a poem written by Samuel Taylor Coleridge, completed in 1797 and published in 1816. It is sometimes given the subtitles "A Vision in a Dream" and "A Fragment." According to Coleridge's preface to Kubla Khan, the poem was composed one night after he experienced an opium-influenced dream after reading a work describing Shangdu, the summer capital of the Mongol-led Yuan dynasty of China founded by Kublai Khan. Upon waking, he set about writing lines of poetry that came to him from the dream until he was interrupted by "a person on business from Porlock". The poem could not be completed according to its original 200–300 line plan as the interruption caused him to forget the lines. He left it unpublished and kept it for private readings for his friends until 1816 when, at the prompting of Lord Byron, it was published.
"Twinkle, Twinkle, Little Star" is an English lullaby. The lyrics are from an early-19th-century English poem written by Jane Taylor, "The Star". The poem, which is in couplet form, was first published in 1806 in Rhymes for the Nursery, a collection of poems by Taylor and her sister Ann. It is now sung to the tune of the French melody "Ah! vous dirai-je, maman", which was first published in 1761 and later arranged by several composers, including Mozart with Twelve Variations on "Ah vous dirai-je, Maman". The English lyrics have five stanzas, although only the first is widely known.
A villanelle, also known as villanesque, is a nineteen-line poetic form consisting of five tercets followed by a quatrain. There are two refrains and two repeating rhymes, with the first and third lines of the first tercet repeated alternately at the end of each subsequent stanza until the last stanza, which includes both repeated lines. The villanelle is an example of a fixed verse form. The word derives from Latin, then Italian, and is related to the initial subject of the form being the pastoral.
"This Be The Verse" is a lyric poem in three stanzas with an alternating rhyme scheme, by the English poet Philip Larkin (1922–1985). It was written around April 1971, was first published in the August 1971 issue of New Humanist, and appeared in the 1974 collection High Windows.
"The Road Not Taken" is a narrative poem by Robert Frost, first published in the August 1915 issue of the Atlantic Monthly, and later published as the first poem in the 1916 poetry collection, Mountain Interval. Its central theme is the divergence of paths, both literally and figuratively, although its interpretation is noted for being complex and potentially divergent.
In English literature, Don Juan, written from 1819 to 1824 by the English poet Lord Byron, is a satirical, epic poem that portrays the Spanish folk legend of Don Juan, not as a womaniser as historically portrayed, but as a victim easily seduced by women. As genre literature, Don Juan is an epic poem, written in ottava rima and presented in 16 cantos. Lord Byron derived the character of Don Juan from traditional Spanish folk legends; however, the story was very much his own. Upon publication in 1819, cantos I and II were widely criticised as immoral because Byron had so freely ridiculed the social subjects and public figures of his time. At his death in 1824, Lord Byron had completed 16 of 17 cantos, whilst canto XVII remained unfinished.
"Ode on Melancholy" is one of five odes composed by English poet John Keats in the spring of 1819, along with "Ode on a Grecian Urn", "Ode to a Nightingale", "Ode on Indolence", and "Ode to Psyche". The narrative of the poem describes the poet's perception of melancholy through a lyric discourse between the poet and the reader, along with the introduction to Ancient Grecian characters and ideals.
"The White Man's Burden" (1899), by Rudyard Kipling, is a poem about the Philippine–American War (1899–1902) that exhorts the United States to assume colonial control of the Filipino people and their country. Originally written to celebrate the Diamond Jubilee of Queen Victoria, the jingoistic poem was replaced with the sombre "Recessional" (1897), also a Kipling poem about empire.
The Assessment and Qualifications Alliance has produced Anthologies for GCSE English and English Literature studied in English schools. This follows on from AQA's predecessor organisations; Northern Examinations and Assessment Board (NEAB) and Southern Examining Group (SEG).
"The Convergence of the Twain " is a poem by Thomas Hardy, published in 1912. The poem describes the sinking and wreckage of the ocean liner RMS Titanic. "Convergence" is written in tercets and consists of eleven stanzas, following the AAA rhyme pattern.
The Little Girl Lost is a 1794 poem published by William Blake in his collection Songs of Innocence and of Experience. According to scholar, Grevel Lindop, this poem represents Blake's pattern of the transition between "the spontaneous, imaginative Innocence of childhood" to the "complex and mature adult state of Experience."
"Tulips" is a poem by American poet Sylvia Plath. The poem was written in 1961 and included in the collection Ariel published in 1965. The poem is written in nine stanzas in sixty-three lines.
"We are Seven" is a poem written by William Wordsworth and published in his Lyrical Ballads. It describes a discussion between an adult poetic speaker and a "little cottage girl" about the number of brothers and sisters who dwell with her. The poem turns on the question of whether to account two dead siblings as part of the family.
"Neutral Tones" is a poem written by Thomas Hardy in 1867. Forming part of his 1898 collection Wessex Poems and Other Verses, it is the most widely praised of his early poems. It is about the end of a relationship, and carries strong emotional appeal despite its "neutral tones".
On the Morning of Christ's Nativity is a nativity ode written by John Milton in 1629 and published in his Poems of Mr. John Milton (1645). The poem describes Christ's Incarnation and his overthrow of earthly and pagan powers. The poem also connects the Incarnation with Christ's Crucifixion.
"The Queen of Hearts" is an English poem and nursery rhyme based on the characters found on playing cards, by an anonymous author, originally published with three lesser-known stanzas, "The King of Spades", "The King of Clubs", and "The Diamond King", in the British publication The European Magazine, vol. 1, no. 4, in April 1782. However, Iona and Peter Opie have argued that there is evidence to suggest that these other stanzas were later additions to an older poem.
"The Man He Killed" is a poem written by Thomas Hardy. Written in 1902, it was first published in Harper's Weekly, Nov. 8 1902. The first book publication was in his Time's Laughingstocks and Other Verses.
"Poor Susan" is a lyric poem by William Wordsworth composed at Alfoxden in 1797. It was first published in the collection Lyrical Ballads in 1798. It is written in anapestic tetrameter.
The Sphinx is a 174-line poem by Oscar Wilde, written from the point of view of a young man who questions the Sphinx in lurid detail on the history of her sexual adventures, before finally renouncing her attractions and turning to his crucifix. It was written over a period of twenty years, stretching from Wilde's years as an Oxford student up to the poem's publication in an édition de luxe in 1894. The Sphinx drew on a wide range of sources, both ancient and modern, but particularly on various works of the French Decadent movement. Though at first coldly received by critics it is now generally recognized as Wilde's finest Decadent poem, and has been described as "unrivalled: a quintessential piece of fin-de-siècle art".