Focusing on the different poetic effects achieved by Keats in
stanza XXV to the end of the poem, to what extent do you see the
poem as a positive celebration of earthly passion?
I disagree that The Eve of St. Agnes is a positive celebration of earthly
passion. From stanza XXV to the end, Keats’s portrayal of passion is far
more complex. While he employs sensual imagery and romantic language,
these elements are overshadowed by a sinister undertone. The ambiguous
conclusion and the unsettling power dynamics between Porphyro and
Madeline suggest that the poem ultimately critiques the fleeting and
potentially destructive nature of earthly passion rather than glorifying it.
While I disagree with the statement, some may argue that there is a rich
interplay of spiritual imagery and visual allure in Keats’ portrayal of
Madeline, which positively shows earthly passion as it shows the powerful
force of Madeline’s beauty. This is particularly shown when Keats
describes her to be ‘kneeling for heaven’s grace and boon’ before the
stained-glass window, with the moon’s wintry glow- associated with
purity- filtering through, casting beautiful ‘warm gules’ on her. The
interplay of colours and light wraps Madeline in an aura of ethereality,
portraying her as a symbol of earthly, divine beauty. Further supported by
the semantic field of religion, with words such as ‘heaven’, ‘grace’, ‘saint’,
and ‘angel’, Keats seems to infuse Madeline’s beauty with an aspect of
innocence and reverence, suggesting that she transcends the physical
and attains a divine and pure quality that causes Porphyro to ‘grow faint’
at the sight of her. However, this admiration I feel may not be as pure as it
first appears. Madeline’s act of ‘kneeling’ may also be seen as conveying
submissiveness and vulnerability, especially as ‘red’ has connotations of
danger, and her association with bird imagery- ‘chilly nest’- implies a
fragility that invites Porphyro’s desire rather than spiritual awe. His
reaction, therefore, seems less of an appreciation of her spiritual beauty
and more an embodiment of sensual attraction. Keats complicates this
further by creating a sensuous rhythm through a multi-sensory asyndetic
list describing her undressing: ‘warmed jewels’, ‘fragrant boddice’, ‘rich
attire creeps rustling’, as-well as referring her to a ‘mermaid’, alike a siren,
who is unconsciously seducing him, with the aspect of her hair, ‘her hair
she frees’- adding sexual undertones. Porphyro, therefore, is ultimately
voyeuristic, signifying the male gaze, where he is objectifying and
sexualising Madeline for innocently getting ready for bed.
stanza XXV to the end of the poem, to what extent do you see the
poem as a positive celebration of earthly passion?
I disagree that The Eve of St. Agnes is a positive celebration of earthly
passion. From stanza XXV to the end, Keats’s portrayal of passion is far
more complex. While he employs sensual imagery and romantic language,
these elements are overshadowed by a sinister undertone. The ambiguous
conclusion and the unsettling power dynamics between Porphyro and
Madeline suggest that the poem ultimately critiques the fleeting and
potentially destructive nature of earthly passion rather than glorifying it.
While I disagree with the statement, some may argue that there is a rich
interplay of spiritual imagery and visual allure in Keats’ portrayal of
Madeline, which positively shows earthly passion as it shows the powerful
force of Madeline’s beauty. This is particularly shown when Keats
describes her to be ‘kneeling for heaven’s grace and boon’ before the
stained-glass window, with the moon’s wintry glow- associated with
purity- filtering through, casting beautiful ‘warm gules’ on her. The
interplay of colours and light wraps Madeline in an aura of ethereality,
portraying her as a symbol of earthly, divine beauty. Further supported by
the semantic field of religion, with words such as ‘heaven’, ‘grace’, ‘saint’,
and ‘angel’, Keats seems to infuse Madeline’s beauty with an aspect of
innocence and reverence, suggesting that she transcends the physical
and attains a divine and pure quality that causes Porphyro to ‘grow faint’
at the sight of her. However, this admiration I feel may not be as pure as it
first appears. Madeline’s act of ‘kneeling’ may also be seen as conveying
submissiveness and vulnerability, especially as ‘red’ has connotations of
danger, and her association with bird imagery- ‘chilly nest’- implies a
fragility that invites Porphyro’s desire rather than spiritual awe. His
reaction, therefore, seems less of an appreciation of her spiritual beauty
and more an embodiment of sensual attraction. Keats complicates this
further by creating a sensuous rhythm through a multi-sensory asyndetic
list describing her undressing: ‘warmed jewels’, ‘fragrant boddice’, ‘rich
attire creeps rustling’, as-well as referring her to a ‘mermaid’, alike a siren,
who is unconsciously seducing him, with the aspect of her hair, ‘her hair
she frees’- adding sexual undertones. Porphyro, therefore, is ultimately
voyeuristic, signifying the male gaze, where he is objectifying and
sexualising Madeline for innocently getting ready for bed.
