The relationship between Tennyson's Maud and In Memoriam, is palpably difficult, providing many similarities and paradoxically, contradictions which result in allowing the reader to witness the poets crisis's of faith and self acceptance.
Maud is most certainly the strangest of these two poems, demonstrating through the speaker, Tennyson's own emotional and mental difficulties. The poem is far more insular than In Memoriam, the narrator far lesss approachable and conducive to the empathy we tend tofeel with regard to Tennyson's lament for Arthur Hallam.
It is difficult to see Maud as a comedy. The lexis of the poem is frequently violent and assaulting. The comedy stems not from predicament, but from the narrator's on view of Maud, himself and the world without himself, that he views with arrogant disparity. Though the speaker declares that he will emerge himself within himself, to separate from the universe he so dislikes, the irony is that he absorbs everything he so dislikes and renders his total aloofness, impossible.
The first stanzas of the poem deal with the death of the speakers fahter, which is htrough suicide. We are told that villainy is afoot, that it is Maud's father who has remotely caused this tragedy. Throughout the poem, we will continue to be reminded by the speaker, that I is those around him who create his mental irregularities, that in his view, they are not innate, even though he contradicoraliy fears that a suicidal fate is what he will suffer. In the Speakers view, mental affliction is in fact an infliction, which is hereditary only in so far as the Father's death affects the son and vice versa. This tenuously reflects Tennyson's own fear of mental illness, which was a very influential part of his life.
In Maud, death is a horrifyingly physical state. Dull, onomataopeaic words such as 'Dinted and Crushed assault the ears with mimetic tedium.
She is showing how unlike Sadie, Maud is trying to live up to one of the expectations society has set upon them. ... "Maud and Ma and Papa/Nearly died of shame" (12). ... Now, the only person left "all alone/In [the] old house" is Maud (19, 20). Maud chose to please everyone but herself which ironically left her the saddest. ... She didn't allow any negativity or shame to get to her like Maud did. ...
To Yeat's horror, Maud married General John MacBride. ... Later in his poems, Yeats began referring to Maud as Helen of Troy. ... When Roland and Maud picnicked at Boggle Hole, Roland asked Maud to undo her plaits. ... Both Maud's were described as having a "cold" beauty. ... Maud Gonne, however, was financially independent. ...
Within the year, he married Charmian Kittredge, who is represented in The Sea-Wolf by Maud Brewster, the woman who comes aboard the Ghost in the second half of the book. ... When Maud confesses her fear, Humphrey feels the beast surge within himself. ...
Yeats's life, a woman named Maud Gonne had significant impacts on his poetry writing as well as his political views. ... The female figure in Yeats's poems, mostly Maud Gonne in a central way, is endowed with extraordinary beauty and dominated power not only in terms of relationship with the male but also in Irish political events. ... In this essay, I will analyze the image of Maud Gonne as being a dangerous beauty as well as a violent political fanatic, through a discussion of Yeats's two poems, "No Second Troy" and "A Prayer for my Daughter" as an evidence...
When Lucy Maud Montgomery grew up, she not only owned and read many books; she was also an author herself. ... Lucy Maud Montgomery wrote this series of novels based on reflections on her own life. ... Lucy Maud Montgomery was born on November 30, 1874, in Clifton, New London on Prince Edward Island. ... After the passing of Maud's only true love, she lived an unhappy existence in Cavendish over the next few years. ...
The concept of simulacra is implored by Maud, Roland and Val. ... "Roland thought that he and Maud were being driven by a plot or fate not their own fate or plot but that of those other"p421. ... The realisation that Maud and Roland have discovered love, an idealistic notion that holds modern ideals and challenges postmodernism. Both Maud and Roland do believe in structure and absolute truths. ... Although Maud later quotes "We never say the word love-we know it's a suspect ideological construct." ...
Not only this poem, but his three other major long works, "In Memoriam", "Maud", and "Idylls of the King" , all deal in part with the meaning of trances, which are at first frightening but then are revealed to be pathways to the extrasensory, to be rejoiced over rather than feared, (Group). Another tie to insanity is the poem "Maud", after Maud dies the narrator goes temporarily insane; he finally realizes that he has been as selfish and evil as the society on which he has blamed his bad fortune. ...
Brooks is the author of almost thirty books, including a novel, Maud Martha, and an autobiography, Report from Part One. ... Her works include: A Street in Bronzeville, Annie Allen, Maud Martha, Bronzeville Boys and Girls, The Bean Eaters, Selected Poems, In the Mecca, Riot, Report from Part One, Blacks, and Children Coming Home. ...
Soon after Tennyson voiced his complaints, he had something to say about his country's reluctance to go to war and wrote "Maud."" ... Gladstone, the former prime minister of England, thought otherwise and condemned "Maud- as the "least popular, and probably the least worthy of popularity,"" of Tennyson's poems. ... Tennyson spoke of historical events in "Maud,"" "Idylls of the King,"" "The Charge of the Light Brigade,"" and "Politics."" ...
