The Eve of St Agnes

Context

• Written in January 1819, "The Eve of St. Agnes" is a narrative poem by John Keats.

• Reflects Keats' exploration of romantic and medieval themes, blending imagination with rich, sensuous detail.

• Keats was at the height of his creative powers, producing some of his most famous works during this period, despite personal hardships and the illness of his brother Tom.

  

• The poem is set on the eve of St. Agnes' feast day, a night believed to bring visions of future husbands to unmarried women, adding a mystical and romantic context.

Structure and Form

• The poem consists of 42 Spenserian stanzas.
  • Each stanza contains nine lines with the rhyme scheme ABABBCBCC.
• Written in iambic pentameter.
• The structured form and steady rhythm contribute to the poem's dreamy and narrative quality, enhancing the romantic and medieval atmosphere.

Key Themes

Love and Desire

• "Sudden a thought came like a full-blown rose, / Flushing his brow, and in his pained heart / Made purple riot"
• Reflects the intensity and suddenness of love and desire.
• Keats explores the overwhelming nature of romantic longing and its powerful effects on the human heart.

Imagination and Dreams

• "She saw her native town, / Hanging about her like a cloud, / A sweep of lute-strings, / And the bubble-swell of far-off harmonies"
• Highlights the importance of dreams and imagination in the characters' experiences.
• Keats often used dreams to explore deeper emotional and psychological states.

Supernatural and Mysticism

• "St. Agnes' Eve—Ah, bitter chill it was! / The owl, for all his feathers, was a-cold"
• Sets a mystical and foreboding tone, emphasizing the supernatural elements associated with St. Agnes' Eve.
• Reflects the Romantic fascination with the mystical and the otherworldly.

Sensuality and Sensory Imagery

• "The hare limped trembling through the frozen grass, / And silent was the flock in woolly fold"
• Uses rich, sensory details to create vivid imagery, enhancing the poem's sensual and immersive quality.
• Keats' language evokes a deep connection to the physical world.

Conflict and Escape

• "They glide, like phantoms, into the wide hall; / Like phantoms, to the iron porch, they glide"
• Illustrates the tension between the characters' desires and the obstacles they face.
• The theme of escape is central to the lovers' journey and their pursuit of freedom from societal constraints.

Similar Poems

• "Bright Star! Would I Were Steadfast as Thou Art": Shares themes of love and desire, with a focus on the desire for eternal constancy in the face of transience.
• "Ode to Psyche": Reflects on the themes of imagination and the creation of an ideal world, similar to the dream-like quality of "The Eve of St. Agnes".

Character Analysis

Madeline

Madeline is a dreamy and innocent young woman, detached from reality and entranced by the rituals of St. Agnes' Eve, symbolizing the Romantic pursuit of imagination and beauty.

• Introduced with "argent revelry", she is depicted as distanced from the world with "vague, regardless eyes" and "she scarcely heard."

• Madeline is portrayed as infantilised and sexualised, "Hoodwink'd with faery fancy," excited for the midnight ritual: "for Agnes' dreams, the sweetest of the year."

• St. Agnes' Eve occurs in winter, representing reality and harsh truth, which Madeline rejects for imagination.

• She exists in a mythic, detached state, with erotic thoughts.

• Returns to a virginal state in stanza 27: "as though a rose should shut, and be a bud again," symbolizing no pain or pleasure.

  

• Upon waking, she sees Porphyro like a statue: "Frozen in cold purgatorial, marble statues." Madeline's fear is evident as she faces the harsh reality.

Porphyro

Porphyro is a passionate and fervent lover, driven by a desire for Madeline, embodying Romantic ideals of sensation and emotion over rational thought.

• Described as having a "heart on fire for Madeline," indicating his passionate love.
• Stanza 38 refers to him as "A famish'd pilgrim," using religious imagery to contrast with the oppressive nature of religion as seen with the Beadsman.
• The shift from cold to fire marks Porphyro's passionate and sensual transcendence over self-denial.
• Porphyro seeks pleasure and sensation over thoughts, echoing Keats' Romantic ideal: "O for a Life of Sensations rather than of Thoughts!"
• His voyeuristic actions are unsettling: "strip tease, in the closet observing the preparations," making the reader uncomfortable.

Angela

Angela is a protective and nurturing character, ensuring Madeline's safety and separation from the malevolent intentions of Porphyro.

• "Let her pray, and sleep, and dream Alone with her good angels, far apart from wicked men like thee."
  • This quote suggests Angela's protective nature towards Madeline, contrasting with the threatening presence of Porphyro.

The Beadsman

The Beadsman is a devout and ascetic figure, representing the cold detachment of religious self-denial and the focus on the afterlife over earthly pleasures.

• "His rosary" and "frosted breath" symbolize his dedication to prayer and the coldness of his existence.

• Described as having "numb…fingers", signifying his physical and spiritual detachment from life.

• "Already had his deathbell rung; the joys of all his life were said and sung" – He is presented as being already dead in life, a consequence of his strict Christian ideology.

  

• The Beadsman rejects hedonism, embodying self-denial: "Golden tongue" (a reference to King Lear).

• Suppresses his emotions and bodily desires, killing his body off in life. His coldness reflects his mortified state.

• Prays for Madeline's family and the souls of the dead, showing his focus on the afterlife rather than life itself.

• Keats' scepticism about the afterlife is evident in "his frosted breath…seem'd taking flight for heaven, without a death."

• The poem begins cold and with undertones of Christianity, highlighting Romanticism's tension with religion and self-denial.

• The Beadsman's existential challenge: "The Beadsman, after thousand aves told, for aye unsought for slept among his ashes cold." His prayers go unanswered, emphasizing the poem's theme of immediate life over the afterlife.

Line by Line Analysis

Stanza 1

St. Agnes' Eve—Ah, bitter chill it was! The owl, for all his feathers, was a-cold; The hare limp'd trembling through the frozen grass, And silent was the flock in woolly fold: Numb were the Beadsman's fingers, while he told His rosary, and while his frosted breath, Like pious incense from a censer old, Seem'd taking flight for heaven, without a death, Past the sweet Virgin's picture, while his prayer he saith.

"St. Agnes' Eve—Ah, bitter chill it was!"

• The stanza opens by establishing the setting on St. Agnes' Eve, a night associated with harsh coldness.
• The phrase "bitter chill" immediately sets a bleak, wintry atmosphere.

"The owl, for all his feathers, was a-cold;"

• Even the owl, despite its protective feathers, feels the intense cold, emphasizing the severity of the weather.

"The hare limp'd trembling through the frozen grass, / And silent was the flock in woolly fold:"

• The hare is depicted as trembling and limping, moving cautiously through the frozen grass, which reflects the harshness of the environment.
• The flock of sheep is described as silent and huddled together in their woolly coats, further enhancing the sense of stillness and coldness.

"Numb were the Beadsman's fingers, while he told / His rosary, and while his frosted breath,"

• The Beadsman, a devout and aged figure, is also affected by the cold, with his fingers numb as he counts his rosary beads in prayer.
• His breath, described as "frosted," adds to the imagery of the freezing atmosphere.

"Like pious incense from a censer old, / Seem'd taking flight for heaven, without a death, / Past the sweet Virgin's picture, while his prayer he saith."

• The Beadsman's breath is likened to "pious incense" rising from an old censer, creating a solemn and spiritual mood.
• This imagery suggests that his prayers, like the incense, are ascending to heaven, symbolizing his piety and devotion.
• The phrase "without a death" implies a spiritual ascent rather than a physical one, highlighting the Beadsman's focus on the divine.
• His prayers pass by the picture of the Virgin Mary, reinforcing the religious devotion of the scene and his deep connection to his faith during this cold and desolate night.

Stanza 2

His prayer he saith, this patient, holy man; Then takes his lamp, and riseth from his knees, And back returneth, meagre, barefoot, wan, Along the chapel aisle by slow degrees: The sculptur'd dead, on each side, seem to freeze, Emprison'd in black, purgatorial rails: Knights, ladies, praying in dumb orat'ries, He passeth by; and his weak spirit fails To think how they may ache in icy hoods and mails.

"His prayer he saith, this patient, holy man; / Then takes his lamp, and riseth from his knees,"

• The Beadsman, described as "patient" and "holy," finishes his prayer and slowly rises from his knees, emphasizing his devoutness and the ritualistic nature of his actions.
• The mention of him taking his lamp suggests that he is in a dark, cold place, relying on this small light to guide him.

"And back returneth, meagre, barefoot, wan, / Along the chapel aisle by slow degrees:"

• The Beadsman is portrayed as "meagre, barefoot, wan," indicating his physical frailty and ascetic lifestyle.
• He walks slowly back along the chapel aisle, reflecting both his age and the coldness of the environment.

"The sculptur'd dead, on each side, seem to freeze, / Emprison'd in black, purgatorial rails:"

• The imagery shifts to the "sculptur'd dead," statues of knights and ladies, who appear frozen in time as if they too are affected by the bitter cold.
• These figures are described as "emprison'd in black, purgatorial rails," suggesting that they are trapped in a liminal state, waiting for judgment in the afterlife.

"Knights, ladies, praying in dumb orat'ries, / He passeth by; and his weak spirit fails / To think how they may ache in icy hoods and mails."

• The Beadsman passes by these statues of knights and ladies, who are depicted in silent prayer ("dumb orat'ries").
• His "weak spirit fails" as he empathizes with their possible suffering, imagining how they might "ache in icy hoods and mails," further emphasizing the pervasive cold and the Beadsman's sense of frailty.

Stanza 3

Northward he turneth through a little door, And scarce three steps, ere Music's golden tongue Flatter'd to tears this aged man and poor; But no—already had his deathbell rung; The joys of all his life were said and sung: His was harsh penance on St. Agnes' Eve: Another way he went, and soon among Rough ashes sat he for his soul's reprieve, And all night kept awake, for sinners' sake to grieve.

"Northward he turneth through a little door, / And scarce three steps, ere Music's golden tongue / Flatter'd to tears this aged man and poor;"

• The Beadsman turns northward and steps through a small door, indicating his movement deeper into the chapel or another secluded area.
• He takes only three steps before he is emotionally moved by the sound of music, described as "Music's golden tongue," which nearly brings him to tears.
• This music contrasts sharply with the cold, harsh environment, symbolizing a moment of beauty and emotional warmth in his otherwise austere existence.

"But no—already had his deathbell rung; / The joys of all his life were said and sung:"

• The Beadsman resists the emotional pull of the music, reminding himself that his life is nearing its end ("his deathbell rung").
• He reflects that all the joys of his life have already passed, suggesting a resignation to his fate and a focus on spiritual preparation rather than earthly pleasures.

"His was harsh penance on St. Agnes' Eve: / Another way he went, and soon among / Rough ashes sat he for his soul's reprieve, / And all night kept awake, for sinners' sake to grieve."

• The Beadsman's role on St. Agnes' Eve is one of "harsh penance," indicating his commitment to asceticism and prayer.
• He deliberately avoids the warmth and beauty of the music, choosing instead to sit among "rough ashes" as a form of self-mortification to seek "reprieve" for his soul.
• The Beadsman stays awake all night, grieving for the sins of others, highlighting his deep sense of duty and self-sacrifice.

Stanza 4

That ancient Beadsman heard the prelude soft; And so it chanc'd, for many a door was wide, From hurry to and fro. Soon, up aloft, The silver, snarling trumpets 'gan to chide: The level chambers, ready with their pride, Were glowing to receive a thousand guests: The carved angels, ever eager-eyed, Star'd, where upon their heads the cornice rests, With hair blown back, and wings put cross-wise on their breasts.

"That ancient Beadsman heard the prelude soft; / And so it chanc'd, for many a door was wide, / From hurry to and fro."

• The Beadsman hears the soft prelude of music, suggesting the beginning of a grand event.
• This is possible because many doors are open, allowing the sound to travel and reflecting the bustle and activity as preparations are made.

"Soon, up aloft, / The silver, snarling trumpets 'gan to chide:"

• The mood shifts as "silver, snarling trumpets" begin to play, replacing the soft prelude with a more forceful and commanding sound.
• The term "snarling" gives the trumpets a harsh, almost aggressive quality, adding tension to the scene.

"The level chambers, ready with their pride, / Were glowing to receive a thousand guests:"

• The poem describes the chambers as "ready with their pride," prepared to host a large and splendid gathering.
• The chambers are glowing, filled with light and warmth, in stark contrast to the cold, dark world the Beadsman inhabits.

"The carved angels, ever eager-eyed, / Star'd, where upon their heads the cornice rests, / With hair blown back, and wings put cross-wise on their breasts."

• The carved angels in the room are described as "eager-eyed," as if they are anxiously watching the proceedings.
• Their hair is depicted as "blown back," and their wings are crossed over their breasts, adding a sense of anticipation and heightened emotion to the scene.
• The imagery of the angels suggests a blending of the divine with the human festivities, adding a spiritual dimension to the lavish preparations.

Stanza 5

At length burst in the argent revelry, With plume, tiara, and all rich array, Numerous as shadows haunting faerily The brain, new stuff'd, in youth, with triumphs gay Of old romance. These let us wish away, And turn, sole-thoughted, to one Lady there, Whose heart had brooded, all that wintry day, On love, and wing'd St. Agnes' saintly care, As she had heard old dames full many times declare.

"At length burst in the argent revelry, / With plume, tiara, and all rich array,"

• The stanza begins with a sudden and vivid description of a grand, lavish celebration bursting into the scene.
• The phrase "argent revelry" suggests a silvery, shining festivity, filled with opulence, symbolized by plumes and tiaras.

"Numerous as shadows haunting faerily / The brain, new stuff'd, in youth, with triumphs gay / Of old romance."

• The guests at the revelry are compared to "shadows haunting faerily," suggesting a dreamlike or fantastical quality.
• The imagery evokes the sense of a youthful mind filled with the ideals and stories of chivalric romance, where these revellers seem like figures from those tales.

"These let us wish away, / And turn, sole-thoughted, to one Lady there,"

• The speaker shifts focus, suggesting that the grandeur of the revelry should be put aside to concentrate on a single character, a "Lady" who is deeply immersed in her thoughts.
• The term "sole-thoughted" implies that her mind is entirely focused on one particular concern.

"Whose heart had brooded, all that wintry day, / On love, and wing'd St. Agnes' saintly care, / As she had heard old dames full many times declare."

• The Lady has spent the entire cold day brooding on thoughts of love and St. Agnes, whose care she hopes will bring her visions of her future lover.
• She has heard tales from older women ("old dames") about the rituals of St. Agnes' Eve, which have filled her with hopeful anticipation.

Stanza 6

They told her how, upon St. Agnes' Eve, Young virgins might have visions of delight, And soft adorings from their loves receive Upon the honey'd middle of the night, If ceremonies due they did aright; As, supperless to bed they must retire, And couch supine their beauties, lily white; Nor look behind, nor sideways, but require Of Heaven with upward eyes for all that they desire.

"They told her how, upon St. Agnes' Eve, / Young virgins might have visions of delight,"

• The older women had explained to the Lady that on St. Agnes' Eve, young virgins could experience visions of their future lovers if they followed certain rituals.
• These "visions of delight" are portrayed as a form of supernatural romance, a reward for their faith and purity.

"And soft adorings from their loves receive / Upon the honey'd middle of the night,"

• The visions include receiving tender, romantic attention from their future lovers, which would occur in the "honey'd middle of the night," a time described as sweet and enchanting.

"If ceremonies due they did aright; / As, supperless to bed they must retire, / And couch supine their beauties, lily white;"

• The rituals that must be performed correctly include going to bed without supper and lying on their backs ("supine"), emphasizing purity and discipline.
• The description of their "beauties, lily white" reinforces the idea of virginity and innocence.

"Nor look behind, nor sideways, but require / Of Heaven with upward eyes for all that they desire."

• The ritual also requires the virgins to remain focused, not looking behind or sideways, but instead keeping their eyes upward in prayer to Heaven.
• This upward gaze symbolizes their purity of intention and their hope that Heaven will grant their desires.

Stanza 7

Full of this whim was thoughtful Madeline: The music, yearning like a God in pain, She scarcely heard: her maiden eyes divine, Fix'd on the floor, saw many a sweeping train Pass by—she heeded not at all: in vain Came many a tiptoe, amorous cavalier, And back retir'd; not cool'd by high disdain, But she saw not: her heart was otherwhere: She sigh'd for Agnes' dreams, the sweetest of the year.

"Full of this whim was thoughtful Madeline:"

• Madeline, the Lady introduced earlier, is deeply absorbed in the idea of the St. Agnes' Eve rituals, which dominate her thoughts.
• The use of the word "whim" suggests a mixture of innocence and fervent belief in the supernatural promise of the night.

"The music, yearning like a God in pain, / She scarcely heard: her maiden eyes divine,"

• Although the music around her is described as "yearning like a God in pain," indicating its intense emotional power, Madeline barely notices it.
• Her focus is elsewhere, her "maiden eyes divine" suggesting both her purity and her deep concentration on her inner thoughts.

"Fix'd on the floor, saw many a sweeping train / Pass by—she heeded not at all: in vain"

• Madeline's eyes are fixed on the floor, and she is oblivious to the grand procession of guests with their "sweeping train" of gowns and attire that pass by her.
• Her lack of attention to the external world shows her preoccupation with her thoughts and desires.

"Came many a tiptoe, amorous cavalier, / And back retir'd; not cool'd by high disdain,"

• Several admirers ("amorous cavalier") approach her on tiptoe, perhaps hoping to catch her attention but retreat when they receive none.
• Their retreat is not due to her disdain, but because she simply does not notice them, indicating that her thoughts are entirely elsewhere.

"But she saw not: her heart was otherwhere: / She sigh'd for Agnes' dreams, the sweetest of the year."

• Madeline is so engrossed in her thoughts of the St. Agnes' Eve ritual that she is unaware of the world around her.
• Her heart and mind are focused on the dreams and visions promised by the ritual, which she believes to be "the sweetest of the year," reflecting her longing for the divine revelation of her future love.

Stanza 8

She danc'd along with vague, regardless eyes, Anxious her lips, her breathing quick and short: The hallow'd hour was near at hand: she sighs Amid the timbrels, and the throng'd resort Of whisperers in anger, or in sport; 'Mid looks of love, defiance, hate, and scorn, Hoodwink'd with faery fancy; all amort, Save to St. Agnes and her lambs unshorn, And all the bliss to be before to-morrow morn.

"She danc'd along with vague, regardless eyes, / Anxious her lips, her breathing quick and short:"

• Madeline is described as moving through the crowd with "vague, regardless eyes," indicating her distraction and preoccupation with the ritual she is about to perform.
• Her anxiety is evident in her quick breathing and tense lips, showing her anticipation of the "hallow'd hour" approaching.

"The hallow'd hour was near at hand: she sighs / Amid the timbrels, and the throng'd resort / Of whisperers in anger, or in sport;"

• The "hallow'd hour" refers to the moment when the St. Agnes' Eve ritual is to be performed, heightening Madeline's tension.
• She is surrounded by the sounds of timbrels (small drums) and a crowded gathering of people, who are whispering to one another in various moods—angry, playful, or otherwise engaged.

"'Mid looks of love, defiance, hate, and scorn, / Hoodwink'd with faery fancy; all amort, / Save to St. Agnes and her lambs unshorn,"

• The crowd around Madeline is filled with a mix of emotions—love, defiance, hate, and scorn—all of which she seems to be oblivious to.
• She is "hoodwink'd with faery fancy," meaning her thoughts are captivated by her fantasy and the mystical hopes she has for the night, leaving her "all amort" (spiritless or indifferent) to the world around her.
• Her sole focus is on St. Agnes and the ritual, and the anticipation of the "bliss to be before to-morrow morn" suggests her hope for a divine or romantic revelation by morning.

Stanza 9

So, purposing each moment to retire, She linger'd still. Meantime, across the moors, Had come young Porphyro, with heart on fire For Madeline. Beside the portal doors, Buttress'd from moonlight, stands he, and implores All saints to give him sight of Madeline, But for one moment in the tedious hours, That he might gaze and worship all unseen; Perchance speak, kneel, touch, kiss—in sooth such things have been.

"So, purposing each moment to retire, / She linger'd still."

• Madeline, although intending to leave the gathering and retire to her room for the ritual, hesitates and remains where she is.
• This lingering suggests her internal conflict, perhaps between her anticipation and nervousness.

"Meantime, across the moors, / Had come young Porphyro, with heart on fire / For Madeline."

• While Madeline lingers, Porphyro, her lover, arrives from across the moors, driven by intense passion and longing for her.
• The phrase "with heart on fire" conveys the depth of his desire and urgency to see her.

"Beside the portal doors, / Buttress'd from moonlight, stands he, and implores / All saints to give him sight of Madeline,"

• Porphyro stands hidden in the shadows near the doors, protected from the moonlight, as he prays fervently to the saints for just a glimpse of Madeline.
• His prayer reveals the desperation and intensity of his feelings, seeking divine intervention to fulfil his longing.

"But for one moment in the tedious hours, / That he might gaze and worship all unseen; / Perchance speak, kneel, touch, kiss—in sooth such things have been."

• Porphyro wishes for even a brief moment to gaze at Madeline and worship her from afar, unseen by others.
• He dreams of possibly speaking to her, kneeling before her, or even daring to touch or kiss her, acknowledging that such bold actions have occurred before in tales of romance.

Stanza 10

He ventures in: let no buzz'd whisper tell: All eyes be muffled, or a hundred swords Will storm his heart, Love's fev'rous citadel: For him, those chambers held barbarian hordes, Hyena foemen, and hot-blooded lords, Whose very dogs would execrations howl Against his lineage: not one breast affords Him any mercy, in that mansion foul, Save one old beldame, weak in body and in soul.

"He ventures in: let no buzz'd whisper tell: / All eyes be muffled, or a hundred swords / Will storm his heart, Love's fev'rous citadel:"

• Porphyro bravely enters the mansion, hoping that his presence will remain unnoticed ("let no buzz'd whisper tell").
• He is aware that if his presence is discovered, he would face grave danger, as "a hundred swords" would be aimed at his heart, which is metaphorically described as "Love's fev'rous citadel" (a fortress of passionate love).

"For him, those chambers held barbarian hordes, / Hyena foemen, and hot-blooded lords,"

• To Porphyro, the inhabitants of the mansion—especially the lords and knights—appear as dangerous and uncivilized enemies ("barbarian hordes" and "hyena foemen"), ready to attack him.
• The imagery of "hot-blooded lords" suggests that these men are quick to anger and violence, further emphasizing the peril Porphyro faces.

"Whose very dogs would execrations howl / Against his lineage: not one breast affords / Him any mercy, in that mansion foul,"

• Even the dogs of the mansion are portrayed as hostile, capable of sensing and hating Porphyro's presence due to his lineage, indicating deep-seated animosity.
• Porphyro feels that no one in the mansion would show him mercy, making his situation even more dangerous.

"Save one old beldame, weak in body and in soul."

• The only person who might show Porphyro kindness is an "old beldame," a weak and frail old woman, both physically and spiritually.
• This suggests that his only ally within the mansion is someone who may not have the strength or influence to offer significant help, highlighting the desperation and precariousness of his situation.

Stanza 11

Ah, happy chance! the aged creature came, Shuffling along with ivory-headed wand, To where he stood, hid from the torch's flame, Behind a broad half-pillar, far beyond The sound of merriment and chorus bland: He startled her; but soon she knew his face, And grasp'd his fingers in her palsied hand, Saying, "Mercy, Porphyro! hie thee from this place; They are all here to-night, the whole blood-thirsty race!"

"Ah, happy chance! the aged creature came, / Shuffling along with ivory-headed wand,"

• Porphyro's luck turns as an elderly woman, Angela, happens upon him by chance.
• She is described as "shuffling along" with an "ivory-headed wand," which emphasizes her age and frailty.

"To where he stood, hid from the torch's flame, / Behind a broad half-pillar, far beyond / The sound of merriment and chorus bland:"

• Porphyro is hiding in a shadowy area, away from the light of the torches and distant from the sounds of celebration and music.
• This suggests that he is deep within the mansion, in a secluded spot, enhancing the sense of secrecy and danger.

"He startled her; but soon she knew his face, / And grasp'd his fingers in her palsied hand,"

• Angela is initially startled by Porphyro's sudden appearance but quickly recognizes him.
• She grasps his hand with her "palsied" (trembling) hand, indicating her frailty and perhaps her fear for him.

"'Mercy, Porphyro! hie thee from this place; / They are all here to-night, the whole blood-thirsty race!'"

• Angela immediately urges Porphyro to flee, warning him that the entire "blood-thirsty race" (likely referring to Madeline's hostile family) is present that night.
• Her concern for his safety is evident as she tries to convince him to leave before he is discovered.

Stanza 12

"Get hence! get hence! there's dwarfish Hildebrand; He had a fever late, and in the fit He cursed thee and thine, both house and land: Then there's that old Lord Maurice, not a whit More tame for his gray hairs—Alas me! flit! Flit like a ghost away."—"Ah, Gossip dear, We're safe enough; here in this arm-chair sit, And tell me how"—"Good Saints! not here, not here; Follow me, child, or else these stones will be thy bier."

"'Get hence! get hence! there's dwarfish Hildebrand; / He had a fever late, and in the fit / He cursed thee and thine, both house and land:'"

• Angela continues to warn Porphyro, mentioning specific members of the household, starting with "dwarfish Hildebrand," who has recently been ill.
• During his fever, Hildebrand cursed Porphyro and his family, revealing the deep animosity between them.

"'Then there's that old Lord Maurice, not a whit / More tame for his gray hairs—Alas me! flit! / Flit like a ghost away.'"

• She also mentions Lord Maurice, who, despite his age ("gray hairs"), is still fierce and dangerous.
• Angela urges Porphyro to "flit like a ghost," meaning he should leave quickly and quietly, emphasizing the danger he is in.

"'Ah, Gossip dear, / We're safe enough; here in this arm-chair sit, / And tell me how'"

• Porphyro tries to reassure Angela, calling her "Gossip dear" (an affectionate term for an old friend or confidante).
• He believes they are safe and invites her to sit down and talk, showing his calmness despite the situation.

"'Good Saints! not here, not here; / Follow me, child, or else these stones will be thy bier.'"

• Angela, however, remains terrified, insisting that they are not safe there.
• She urges Porphyro to follow her, warning him that if he stays, he will die ("these stones will be thy bier").

Stanza 13

He follow'd through a lowly arched way, Brushing the cobwebs with his lofty plume, And as she mutter'd "Well-a—well-a-day!" He found him in a little moonlight room, Pale, lattic'd, chill, and silent as a tomb. "Now tell me where is Madeline," said he, "O tell me, Angela, by the holy loom Which none but secret sisterhood may see, When they St. Agnes' wool are weaving piously."

"He follow'd through a lowly arched way, / Brushing the cobwebs with his lofty plume,"

• Porphyro follows Angela through a narrow, low passageway, emphasizing the secrecy and stealth of their movements.
• His "lofty plume" brushes against the cobwebs, a detail that contrasts his noble appearance with the humble and neglected surroundings.

"And as she mutter'd 'Well-a—well-a-day!'"

• Angela mutters "Well-a—well-a-day!" a phrase expressing worry or lamentation, indicating her ongoing anxiety about the situation.

"He found him in a little moonlight room, / Pale, lattic'd, chill, and silent as a tomb."

• They arrive in a small, dimly lit room, illuminated only by the moonlight.
• The room is described as "pale, lattic'd, chill, and silent as a tomb," creating a cold and eerie atmosphere that foreshadows the seriousness of Porphyro's quest.

"'Now tell me where is Madeline,' said he, / 'O tell me, Angela, by the holy loom / Which none but secret sisterhood may see, / When they St. Agnes' wool are weaving piously.'"

• Porphyro immediately asks about Madeline's whereabouts, eager to see her.
• He invokes a sacred image, the "holy loom" used by a secret sisterhood for weaving St. Agnes' wool, to emphasize the solemnity and urgency of his request.
• The reference to the "holy loom" suggests a connection to divine or mystical forces, reflecting the ritualistic and spiritual nature of St. Agnes' Eve.

Stanza 14

"St. Agnes! Ah! it is St. Agnes' Eve— Yet men will murder upon holy days: Thou must hold water in a witch's sieve, And be liege-lord of all the Elves and Fays, To venture so: it fills me with amaze To see thee, Porphyro!—St. Agnes' Eve! God's help! my lady fair the conjuror plays This very night: good angels her deceive! But let me laugh awhile, I've mickle time to grieve."

"'St. Agnes! Ah! it is St. Agnes' Eve— / Yet men will murder upon holy days:"

• Angela reflects on the irony that, despite the sacredness of St. Agnes' Eve, dangerous deeds, such as murder, can still occur even on holy days.
• This suggests the underlying tension and danger surrounding Porphyro's presence in the mansion, despite the ritualistic purity of the night.

"'Thou must hold water in a witch's sieve, / And be liege-lord of all the Elves and Fays, / To venture so: it fills me with amaze / To see thee, Porphyro!—St. Agnes' Eve!'"

• Angela expresses her astonishment at Porphyro's boldness, stating that only someone with supernatural powers ("hold water in a witch's sieve" and "liege-lord of all the Elves and Fays") would dare to venture into the mansion on this night.
• Her disbelief highlights the recklessness of Porphyro's actions, as he risks his life by entering Madeline's household.

"'God's help! my lady fair the conjuror plays / This very night: good angels her deceive!'"

• Angela refers to Madeline as "playing the conjuror," implying that Madeline is engaging in the mystical St. Agnes' Eve ritual to conjure visions of her future lover.
• Angela seems to fear that even "good angels" might be misleading Madeline, reinforcing the sense of superstition and spiritual uncertainty surrounding the ritual.

"'But let me laugh awhile, I've mickle time to grieve.'"

• Despite the seriousness of the situation, Angela briefly laughs, perhaps out of nervousness or irony.
• She notes that she has "mickle time to grieve," suggesting that there will be plenty of time for sorrow later, given the gravity of what might follow.

Stanza 15

Feebly she laugheth in the languid moon, While Porphyro upon her face doth look, Like puzzled urchin on an aged crone Who keepeth clos'd a wond'rous riddle-book, As spectacled she sits in chimney nook. But soon his eyes grew brilliant, when she told His lady's purpose; and he scarce could brook Tears, at the thought of those enchantments cold, And Madeline asleep in lap of legends old.

"Feebly she laugheth in the languid moon, / While Porphyro upon her face doth look,"

• Angela laughs weakly under the soft, distant light of the moon, while Porphyro watches her closely, observing her weariness and frailty.
• The "languid moon" adds a sense of stillness and eeriness to the scene.

"Like puzzled urchin on an aged crone / Who keepeth clos'd a wond'rous riddle-book,"

• Porphyro is compared to a "puzzled urchin" (a curious child), looking at Angela, the "aged crone," as if she holds a mysterious "riddle-book" that she refuses to open.
• This suggests that Porphyro is seeking answers and guidance from Angela, but she appears to be withholding vital information.

"As spectacled she sits in chimney nook."

• Angela is further portrayed as a stereotypical wise, old woman, sitting in a chimney nook with spectacles, reinforcing the image of her as a keeper of ancient knowledge or secrets.

"But soon his eyes grew brilliant, when she told / His lady's purpose; and he scarce could brook / Tears, at the thought of those enchantments cold,"

• When Angela reveals Madeline's purpose—that she is performing the St. Agnes' Eve ritual—Porphyro's eyes light up with excitement.
• However, he is also moved to near tears, distressed by the thought of Madeline being under the influence of "cold" enchantments, alone in her magical vision.

"And Madeline asleep in lap of legends old."

• Porphyro imagines Madeline asleep, wrapped in ancient legends and mystical rituals, which adds to his emotional turmoil as he realizes how distant and untouchable she seems in her dreamlike state.

Stanza 16

Sudden a thought came like a full-blown rose, Flushing his brow, and in his pained heart Made purple riot: then doth he propose A stratagem, that makes the beldame start: "A cruel man and impious thou art: Sweet lady, let her pray, and sleep, and dream Alone with her good angels, far apart From wicked men like thee. Go, go!—I deem Thou canst not surely be the same that thou didst seem."

"Sudden a thought came like a full-blown rose, / Flushing his brow, and in his pained heart / Made purple riot:"

• Porphyro is suddenly struck by an idea, which blossoms in his mind like a "full-blown rose."
• The thought excites him, causing his face to flush and his heart to experience intense, passionate emotions, described as a "purple riot."

"Then doth he propose / A stratagem, that makes the beldame start:"

• Porphyro devises a plan, which he reveals to Angela.
• The nature of this plan is so shocking that it causes Angela, the old "beldame," to be startled.

"'A cruel man and impious thou art: / Sweet lady, let her pray, and sleep, and dream / Alone with her good angels, far apart / From wicked men like thee.'"

• Angela accuses Porphyro of being cruel and irreverent ("impious") for wanting to interfere with Madeline's ritual and peaceful dream.
• She pleads with him to leave Madeline alone, allowing her to pray, sleep, and dream in peace, surrounded by her "good angels" and protected from "wicked men" like Porphyro.

"'Go, go!—I deem / Thou canst not surely be the same that thou didst seem.'"

• Angela urges Porphyro to leave immediately, questioning whether he is the same honourable man she believed him to be.
• Her doubt indicates her fear that Porphyro's intentions may not be pure, and she is concerned for Madeline's safety.

Stanza 17

"I will not harm her, by all saints I swear," Quoth Porphyro: "O may I ne'er find grace When my weak voice shall whisper its last prayer, If one of her soft ringlets I displace, Or look with ruffian passion in her face: Good Angela, believe me by these tears; Or I will, even in a moment's space, Awake, with horrid shout, my foemen's ears, And beard them, though they be more fang'd than wolves and bears."

"'I will not harm her, by all saints I swear,' / Quoth Porphyro:"

• Porphyro swears by all saints that he will not harm Madeline, trying to reassure Angela of his intentions.
• This solemn oath emphasizes his determination to protect Madeline and his desire to gain Angela's trust.

"'O may I ne'er find grace / When my weak voice shall whisper its last prayer, / If one of her soft ringlets I displace, / Or look with ruffian passion in her face:'"

• Porphyro vows that if he ever dishonours Madeline by so much as disturbing one of her hair's "soft ringlets" or looking at her with "ruffian passion," he should be denied divine grace in his final moments.
• This strong declaration highlights his commitment to approaching Madeline with respect and purity.

"'Good Angela, believe me by these tears; / Or I will, even in a moment's space, / Awake, with horrid shout, my foemen's ears, / And beard them, though they be more fang'd than wolves and bears.'"

• Porphyro appeals to Angela, asking her to believe in the sincerity of his tears, indicating the depth of his emotions.
• He also threatens to wake his enemies with a loud shout, facing them fearlessly ("beard them") even if they are as dangerous as wolves and bears, showing his readiness to risk everything for Madeline.

Stanza 18

"Ah! why wilt thou affright a feeble soul? A poor, weak, palsy-stricken, churchyard thing, Whose passing-bell may ere the midnight toll; Whose prayers for thee, each morn and evening, Were never miss'd."—Thus plaining, doth she bring A gentler speech from burning Porphyro; So woful, and of such deep sorrowing, That Angela gives promise she will do Whatever he shall wish, betide her weal or woe.

"'Ah! why wilt thou affright a feeble soul? / A poor, weak, palsy-stricken, churchyard thing,'"

• Angela expresses fear and frustration, questioning why Porphyro would frighten her, as she describes herself as a weak, elderly woman, close to death ("churchyard thing").

"'Whose passing-bell may ere the midnight toll; / Whose prayers for thee, each morn and evening, / Were never miss'd.'"

• Angela suggests that her death may come soon ("passing-bell"), possibly even before midnight, indicating her frailty.
• She reminds Porphyro that she has always prayed for him, morning and evening, without fail, trying to evoke his sympathy and understanding.

"'—Thus plaining, doth she bring / A gentler speech from burning Porphyro;'"

• Angela's complaints and expressions of vulnerability lead Porphyro to speak more gently, calming his previously intense demeanour.

"'So woful, and of such deep sorrowing, / That Angela gives promise she will do / Whatever he shall wish, betide her weal or woe.'"

• Porphyro's sorrowful and sincere words ultimately convince Angela to help him, despite her fears and the potential danger.
• Angela promises to assist him, regardless of the consequences ("weal or woe"), showing her willingness to put herself at risk for his sake.

Stanza 19

Which was, to lead him, in close secrecy, Even to Madeline's chamber, and there hide Him in a closet, of such privacy That he might see her beauty unespy'd, And win perhaps that night a peerless bride, While legion'd faeries pac'd the coverlet, And pale enchantment held her sleepy-ey'd. Never on such a night have lovers met, Since Merlin paid his Demon all the monstrous debt.

"Which was, to lead him, in close secrecy, / Even to Madeline's chamber, and there hide / Him in a closet, of such privacy"

• Angela agrees to secretly guide Porphyro to Madeline's chamber and hide him in a closet, where he can remain unseen.
• This plan emphasizes the clandestine and risky nature of Porphyro's intentions, as he seeks to observe Madeline without her knowledge.

"That he might see her beauty unespy'd, / And win perhaps that night a peerless bride,"

• Porphyro hopes to witness Madeline's beauty in secret and possibly win her as his bride that very night.
• His intentions, though romantic, carry an undercurrent of danger and intrusion, as he plans to observe her without her consent.

"While legion'd faeries pac'd the coverlet, / And pale enchantment held her sleepy-ey'd."

• The scene is described in fantastical terms, with "legion'd faeries" imagined as pacing on Madeline's bedcover, and "pale enchantment" keeping her in a dreamy, sleepy state.
• This imagery enhances the sense of magical and otherworldly elements at play during St. Agnes' Eve.

"Never on such a night have lovers met, / Since Merlin paid his Demon all the monstrous debt."

• The speaker notes that no lovers have met on a night like this since the legendary Merlin settled his "monstrous debt" with his demon.
• This reference to Merlin, a figure associated with magic and mystery, adds to the supernatural and ominous atmosphere of the night, suggesting that the events unfolding are both extraordinary and fraught with peril.

Stanza 20

"It shall be as thou wishest," said the Dame: "All cates and dainties shall be stored there Quickly on this feast-night: by the tambour frame Her own lute thou wilt see: no time to spare, For I am slow and feeble, and scarce dare On such a catering trust my dizzy head. Wait here, my child, with patience; kneel in prayer The while: Ah! thou must needs the lady wed, Or may I never leave my grave among the dead."

"'It shall be as thou wishest,' said the Dame:"

• Angela agrees to fulfil Porphyro's request, showing her reluctant yet determined compliance with his plan.

"'All cates and dainties shall be stored there / Quickly on this feast-night: by the tambour frame / Her own lute thou wilt see: no time to spare,'"

• She describes how she will prepare Madeline's chamber with "cates and dainties" (delicacies and treats), highlighting the celebratory nature of the feast night.
• Angela notes the presence of Madeline's lute by the tambour frame, emphasizing the personal and intimate setting that Porphyro is about to enter.
• Angela acknowledges the urgency of the situation, warning that there is "no time to spare."

"'For I am slow and feeble, and scarce dare / On such a catering trust my dizzy head.'"

• Angela confesses her physical frailty and the difficulty she has in carrying out such tasks, revealing her vulnerability and the strain that Porphyro's request is placing on her.

"'Wait here, my child, with patience; kneel in prayer / The while: Ah! thou must needs the lady wed, / Or may I never leave my grave among the dead.'"

• Angela instructs Porphyro to wait patiently and pray while she prepares the chamber, indicating the gravity and solemnity of the situation.
• She urges Porphyro to marry Madeline, implying that this union is essential, or else she (Angela) may never find peace even in death.
• This statement underscores Angela's deep concern for both Porphyro and Madeline, as well as her fear of the consequences should this plan fail.

Stanza 21

So saying, she hobbled off with busy fear. The lover's endless minutes slowly pass'd; The dame return'd, and whisper'd in his ear To follow her; with aged eyes aghast From fright of dim espial. Safe at last, Through many a dusky gallery, they gain The maiden's chamber, silken, hush'd, and chaste; Where Porphyro took covert, pleas'd amain. His poor guide hurried back with agues in her brain.

"So saying, she hobbled off with busy fear."

• Angela, filled with anxious determination, hurries away to fulfil the preparations, her fear evident in her movements.

"The lover's endless minutes slowly pass'd;"

• Porphyro experiences the passage of time as agonizingly slow, reflecting his heightened anticipation and anxiety as he waits for Angela's return.

"The dame return'd, and whisper'd in his ear / To follow her; with aged eyes aghast / From fright of dim espial."

• Angela returns and quietly instructs Porphyro to follow her, her fear heightened as she anxiously looks around, worried about being discovered ("dim espial").
• Her "aged eyes aghast" suggest that she is deeply unsettled by the risk they are taking.

"Safe at last, / Through many a dusky gallery, they gain / The maiden's chamber, silken, hush'd, and chaste;"

• After navigating through the dark, shadowy corridors of the mansion, Angela and Porphyro finally reach Madeline's chamber.
• The room is described as "silken, hush'd, and chaste," emphasizing its purity, softness, and the quiet atmosphere that contrasts with the tension of the journey.

"Where Porphyro took covert, pleas'd amain. / His poor guide hurried back with agues in her brain."

• Porphyro hides himself in the room, feeling a sense of satisfaction as he prepares to witness Madeline in her most private moment.
• Angela, however, is deeply shaken by the experience ("agues in her brain"), and she hurries away, overwhelmed by the fear and stress of the situation.

Stanza 22

Her falt'ring hand upon the balustrade, Old Angela was feeling for the stair, When Madeline, St. Agnes' charmed maid, Rose, like a mission'd spirit, unaware: With silver taper's light, and pious care, She turn'd, and down the aged gossip led To a safe level matting. Now prepare, Young Porphyro, for gazing on that bed; She comes, she comes again, like ring-dove fray'd and fled.

"Her falt'ring hand upon the balustrade, / Old Angela was feeling for the stair,"

• Angela, unsteady and disoriented, reaches for the stair rail as she attempts to leave the chamber, her weakness underscored by her faltering movements.

"When Madeline, St. Agnes' charmed maid, / Rose, like a mission'd spirit, unaware:"

• Madeline, described as "St. Agnes' charmed maid," rises from her bed, seemingly guided by some divine or mystical force, unaware of Porphyro's presence.
• The imagery of her rising "like a mission'd spirit" emphasizes her purity and the sense that she is acting under the influence of the holy night.

"With silver taper's light, and pious care, / She turn'd, and down the aged gossip led / To a safe level matting."

• Holding a silver taper (candle), Madeline carefully and reverently guides Angela down to a safer part of the room, displaying her kindness and piety even in her ritualistic trance.
• The "safe level matting" suggests a place where Angela can rest and be out of harm's way.

"Now prepare, / Young Porphyro, for gazing on that bed; / She comes, she comes again, like ring-dove fray'd and fled."

• The focus shifts to Porphyro, as he is urged to prepare himself for what he is about to witness.
• Madeline is described as returning to her bed "like ring-dove fray'd and fled," comparing her to a frightened bird, delicate and vulnerable, suggesting her innocence and the gravity of the moment that Porphyro is about to witness.

Stanza 23

Out went the taper as she hurried in; Its little smoke, in pallid moonshine, died: She clos'd the door, she panted, all akin To spirits of the air, and visions wide: No uttered syllable, or, woe betide! But to her heart, her heart was voluble, Paining with eloquence her balmy side; As though a tongueless nightingale should swell Her throat in vain, and die, heart-stifled, in her dell.

"Out went the taper as she hurried in; / Its little smoke, in pallid moonshine, died:"

• As Madeline enters her chamber, her candle ("taper") extinguishes, leaving a small trail of smoke that fades away in the cold, pale moonlight.
• This imagery emphasizes the transition from the light of the taper to the eerie, natural light of the moon, creating a sombre and mystical atmosphere.

"She clos'd the door, she panted, all akin / To spirits of the air, and visions wide:"

• Madeline, breathless and excited, closes the door behind her.
• Her state of being is compared to "spirits of the air" and "visions wide," suggesting that she is in a heightened, almost otherworldly state of mind, deeply immersed in the mystical atmosphere of St. Agnes' Eve.

"No uttered syllable, or, woe betide! / But to her heart, her heart was voluble,"

• Madeline remains silent, as speaking aloud might break the spell of the night ("woe betide!").
• However, her heart is "voluble," meaning it is full of unspoken emotions and thoughts, communicating her intense feelings internally rather than through words.

"Paining with eloquence her balmy side; / As though a tongueless nightingale should swell / Her throat in vain, and die, heart-stifled, in her dell."

• The intense emotions in Madeline's heart cause her physical discomfort as if her heart is speaking with such eloquence that it pains her "balmy side."
• This feeling is compared to a "tongueless nightingale" trying to sing but unable to produce sound, ultimately dying from the unexpressed emotion. The imagery evokes a sense of tragic beauty and the powerful, yet silent, struggle within Madeline.

Stanza 24

A casement high and triple-arch'd there was, All garlanded with carven imag'ries Of fruits, and flowers, and bunches of knot-grass, And diamonded with panes of quaint device, Innumerable of stains and splendid dyes, As are the tiger-moth's deep-damask'd wings; And in the midst, 'mong thousand heraldries, And twilight saints, and dim emblazonings, A shielded scutcheon blush'd with blood of queens and kings.

"A casement high and triple-arch'd there was, / All garlanded with carven imag'ries / Of fruits, and flowers, and bunches of knot-grass,"

• The stanza describes a "casement" (a window) in Madeline's chamber, which is grandly designed with three arches.
• The window is adorned with intricate carvings of fruits, flowers, and knotgrass, contributing to the rich, decorative, and almost magical atmosphere of the room.

"And diamonded with panes of quaint device, / Innumerable of stains and splendid dyes, / As are the tiger-moth's deep-damask'd wings;"

• The window is further decorated with stained glass panes that are "diamonded" with intricate patterns and vivid colours, resembling the richly patterned wings of a tiger moth.
• This comparison highlights the intricate beauty and vividness of the window, making it a central feature of the room that captures the imagination.

"And in the midst, 'mong thousand heraldries, / And twilight saints, and dim emblazonings, / A shielded scutcheon blush'd with blood of queens and kings."

• Amidst the ornate designs of heraldry, saints, and other symbols, a "shielded scutcheon" (a coat of arms) is prominently displayed.
• This scutcheon "blush'd with blood of queens and kings," suggesting a connection to noble lineage and a sense of history and legacy, adding to the grandeur and solemnity of the scene.

Stanza 25

Full on this casement shone the wintry moon, And threw warm gules on Madeline's fair breast, As down she knelt for heaven's grace and boon; Rose-bloom fell on her hands, together prest, And on her silver cross soft amethyst, And on her hair a glory, like a saint: She seem'd a splendid angel, newly drest, Save wings, for heaven:—Porphyro grew faint: She knelt, so pure a thing, so free from mortal taint.

"Full on this casement shone the wintry moon, / And threw warm gules on Madeline's fair breast,"

• The wintry moonlight shines directly through the casement, casting a warm, reddish glow ("gules") on Madeline's chest, despite the coldness of the night.
• The use of "gules," a term from heraldry meaning red, ties the light to the imagery of the scutcheon in the previous stanza, blending the physical and symbolic elements of the scene.

"As down she knelt for heaven's grace and boon;"

• Madeline kneels in prayer, seeking grace and a blessing ("boon") from heaven, emphasizing her piety and the ritualistic nature of the night.

"Rose-bloom fell on her hands, together prest, / And on her silver cross soft amethyst, / And on her hair a glory, like a saint:"

• The moonlight continues to bathe Madeline in a soft, rose-coloured light, highlighting her hands clasped in prayer, her silver cross, and her hair, which is described as having a "glory, like a saint."
• This imagery likens Madeline to a saint or an angel, emphasizing her purity and holiness at this moment.

"She seem'd a splendid angel, newly drest, / Save wings, for heaven:—Porphyro grew faint:"

• Madeline appears as a "splendid angel," almost fully prepared for her ascent to heaven, lacking only wings.
• Porphyro, witnessing her divine beauty and purity, is overwhelmed ("grew faint"), overcome by the sight of her.

"She knelt, so pure a thing, so free from mortal taint."

• The stanza concludes by reinforcing Madeline's purity, describing her as "so pure" and "free from mortal taint," elevating her to a near-divine status in Porphyro's eyes.
• This emphasizes the contrast between her innocence and the passionate desires that Porphyro harbours.

Stanza 26

Anon his heart revives: her vespers done, Of all its wreathed pearls her hair she frees; Unclasps her warmed jewels one by one; Loosens her fragrant boddice; by degrees Her rich attire creeps rustling to her knees: Half-hidden, like a mermaid in sea-weed, Pensive awhile she dreams awake, and sees, In fancy, fair St. Agnes in her bed, But dares not look behind, or all the charm is fled.

"Anon his heart revives: her vespers done,"

• Porphyro regains his composure as Madeline finishes her evening prayers ("vespers").
• The phrase "his heart revives" suggests that he is emotionally recovering from the overwhelming sight of her purity.

"Of all its wreathed pearls her hair she frees; / Unclasps her warmed jewels one by one;"

• Madeline begins to undo her elaborate hairstyle, freeing her hair from the "wreathed pearls" that adorned it.
• She then slowly removes her jewellery, which has been warmed by her body, indicating the ritualistic nature of preparing for bed.

"Loosens her fragrant boddice; by degrees / Her rich attire creeps rustling to her knees:"

• Madeline continues to undress, loosening her bodice, and releasing the fragrance that it held close to her body.
• As she undresses, her rich clothing slowly falls to her knees, the rustling sound adding to the sensual atmosphere.

"Half-hidden, like a mermaid in sea-weed, / Pensive awhile she dreams awake, and sees,"

• Madeline is described as "half-hidden" by her clothing, like a mermaid partially obscured by seaweed, evoking a sense of mystery and ethereal beauty.
• She becomes lost in thought, "dreaming awake," suggesting a state of half-consciousness where reality blends with fantasy.

"In fancy, fair St. Agnes in her bed, / But dares not look behind, or all the charm is fled."

• Madeline imagines herself as St. Agnes, the saint who inspires the night's ritual, lying in her bed.
• She is so absorbed in this fantasy that she dares not look behind her, fearing that doing so will break the spell or "charm" of the moment.

Stanza 27

Soon, trembling in her soft and chilly nest, In sort of wakeful swoon, perplex'd she lay, Until the poppied warmth of sleep oppress'd Her soothed limbs, and soul fatigued away; Flown, like a thought, until the morrow-day; Blissfully haven'd both from joy and pain; Clasp'd like a missal where swart Paynims pray; Blinded alike from sunshine and from rain, As though a rose should shut, and be a bud again.

"Soon, trembling in her soft and chilly nest, / In sort of wakeful swoon, perplex'd she lay,"

• Madeline lies trembling in her bed, which is described as a "soft and chilly nest," highlighting the contrast between comfort and coldness.
• She is in a state of "wakeful swoon," where she is not fully asleep but is also not entirely awake, feeling confused and disoriented.

"Until the poppied warmth of sleep oppress'd / Her soothed limbs, and soul fatigued away;"

• Eventually, the "poppied warmth of sleep" overcomes her, a metaphor suggesting the sedative effects of opium (derived from poppies), which soothes her body and mind, allowing her to drift into deep sleep.
• Her soul, tired from the day's emotions and rituals, finally finds rest.

"Flown, like a thought, until the morrow-day;"

• Her consciousness is described as having "flown, like a thought," suggesting the ease and swiftness with which she slips into sleep, remaining there until the next day.

"Blissfully haven'd both from joy and pain; / Clasp'd like a missal where swart Paynims pray;"

• In her sleep, Madeline is safely sheltered ("haven'd") from both joy and pain, existing in a peaceful, neutral state.
• She is compared to a missal (a religious book used for prayer) being held tightly ("clasp'd") by someone praying, further emphasizing her purity and sanctity in this vulnerable state.

"Blinded alike from sunshine and from rain, / As though a rose should shut, and be a bud again."

• Madeline, in her sleep, is "blinded" by both the sunshine and rain, suggesting she is closed off from the outside world and its influences.
• The image of a rose shutting and becoming a bud again symbolizes her retreat into innocence and purity as if she is returning to a state of untouched, perfect beauty.

Stanza 28

Stol'n to this paradise, and so entranced, Porphyro gaz'd upon her empty dress, And listen'd to her breathing, if it chanced To wake into a slumberous tenderness; Which when he heard, that minute did he bless, And breath'd himself: then from the closet crept, Noiseless as fear in a wide wilderness, And over the hush'd carpet, silent, step, And 'tween the curtains peep'd, where, lo!—how fast she slept.

"Stol'n to this paradise, and so entranced, / Porphyro gaz'd upon her empty dress,"

• Porphyro, having secretly entered Madeline's "paradise" (her private chamber), is entranced by the sight before him.
• He gazes at her empty dress, which symbolizes her vulnerability and the intimacy of the moment.

"And listen'd to her breathing, if it chanced / To wake into a slumberous tenderness;"

• Porphyro listens closely to Madeline's breathing, hoping that she might stir or show some sign of awareness, though still in a tender, sleepy state.
• His actions reflect both his desire and his caution, as he does not want to disturb her but is deeply moved by the intimacy of the moment.

"Which when he heard, that minute did he bless, / And breath'd himself: then from the closet crept,"

• When Porphyro finally hears her gentle breathing, he feels a sense of relief and blessing, allowing himself to breathe more easily.
• He then quietly leaves his hiding place, creeping out of the closet with great care to avoid making any noise.

"Noiseless as fear in a wide wilderness, / And over the hush'd carpet, silent, stept,"

• Porphyro moves as quietly as "fear in a wide wilderness," a metaphor that captures the tension and the absolute silence of his movements.
• The "hush'd carpet" further muffles his steps, emphasizing the stillness and secrecy of the scene.

"And 'tween the curtains peep'd, where, lo!—how fast she slept."

• Porphyro peeks between the curtains of Madeline's bed and is struck by how deeply she is sleeping.
• The exclamation "lo!" expresses his amazement and perhaps a mix of reverence and desire as he witnesses her in such a peaceful, innocent state.

Stanza 29

Then by the bed-side, where the faded moon Made a dim, silver twilight, soft he set A table, and, half anguish'd, threw thereon A cloth of woven crimson, gold, and jet:— O for some drowsy Morphean amulet! The boisterous, midnight, festive clarion, The kettle-drum, and far-heard clarinet, Affray his ears, though but in dying tone:— The hall door shuts again, and all the noise is gone.

"Then by the bed-side, where the faded moon / Made a dim, silver twilight, soft he set / A table, and, half anguish'd, threw thereon / A cloth of woven crimson, gold, and jet:—"

• Porphyro, in the dim, silvery light of the fading moon, sets a table beside Madeline's bed, creating an intimate setting.
• He throws a richly woven cloth onto the table, the colours of "crimson, gold, and jet" symbolizing both passion and darkness, which reflects his inner turmoil and the intensity of the moment.

"O for some drowsy Morphean amulet!"

• Porphyro expresses a longing for a "Morphean amulet," referencing Morpheus, the Greek god of dreams, suggesting that he wishes for something to induce sleep or maintain the tranquil, dreamlike state that Madeline is in.

"The boisterous, midnight, festive clarion, / The kettle-drum, and far-heard clarinet, / Affray his ears, though but in dying tone:—"

• The sounds of the revelry—the clarion, kettle-drum, and clarinet—echo faintly, disturbing Porphyro, even though they are fading away.
• These noises symbolize the external world of chaos and celebration, contrasting sharply with the quiet, intimate scene in Madeline's chamber.

"The hall door shuts again, and all the noise is gone."

• The closing of the hall door finally silences the last remnants of the noise, leaving Porphyro and Madeline in complete stillness.
• This moment of silence marks the transition to an even more intimate and isolated atmosphere, where Porphyro is left alone with his thoughts and Madeline.

Stanza 30

And still she slept an azure-lidded sleep, In blanched linen, smooth, and lavender'd, While he forth from the closet brought a heap Of candied apple, quince, and plum, and gourd; With jellies soother than the creamy curd, And lucent syrops, tinct with cinnamon; Manna and dates, in argosy transferr'd From Fez; and spiced dainties, every one, From silken Samarcand to cedar'd Lebanon.

"And still she slept an azure-lidded sleep, / In blanched linen, smooth, and lavender'd,"

• Madeline continues to sleep, her eyelids described as "azure-lidded," implying a peaceful, serene sleep.
• She is wrapped in "blanched linen," which is smooth and scented with lavender, enhancing the purity and calmness of her surroundings.

"While he forth from the closet brought a heap / Of candied apple, quince, and plum, and gourd;"

• Porphyro retrieves an assortment of exotic and luxurious foods from the closet, including candied fruits such as apples, quince, plum, and gourd.
• These items suggest both abundance and an effort to create a sensory experience that matches the richness of the night.

"With jellies soother than the creamy curd, / And lucent syrops, tinct with cinnamon;"

• The feast continues with jellies that are even smoother than curd and syrups that are "lucent" (clear and shining) and flavoured with cinnamon, adding to the sensual and indulgent atmosphere.

"Manna and dates, in argosy transferr'd / From Fez; and spiced dainties, every one, / From silken Samarcand to cedar'd Lebanon."

• Porphyro's offerings include manna and dates, symbolizing divine and exotic nourishment, brought from distant lands such as Fez, Samarcand, and Lebanon.
• The mention of these locations adds to the sense of the night being magical and otherworldly, with foods that evoke a sense of adventure and fantasy.

Stanza 31

These delicates he heap'd with glowing hand On golden dishes and in baskets bright Of wreathed silver: sumptuous they stand In the retired quiet of the night, Filling the chilly room with perfume light.— "And now, my love, my seraph fair, awake! Thou art my heaven, and I thine eremite: Open thine eyes, for meek St. Agnes' sake, Or I shall drowse beside thee, so my soul doth ache."

"These delicates he heap'd with glowing hand / On golden dishes and in baskets bright / Of wreathed silver: sumptuous they stand / In the retired quiet of the night,"

• Porphyro carefully arranges the delicacies on golden dishes and silver baskets, creating a sumptuous and lavish display in Madeline's quiet chamber.
• The richness of the presentation contrasts with the stillness of the night, emphasizing the care and passion with which Porphyro prepares the setting.

"Filling the chilly room with perfume light.—"

• The food and its presentation fill the cold room with a warm, fragrant atmosphere, almost as if the luxurious feast itself emits light and warmth.
• This imagery suggests that Porphyro is attempting to transform the chilly, quiet space into one of warmth and sensuality.

"'And now, my love, my seraph fair, awake! / Thou art my heaven, and I thine eremite:"

• Porphyro softly urges Madeline to awaken, addressing her as his "seraph fair," likening her to a heavenly angel.
• He declares that she is his "heaven," and he is her "eremite" (a religious hermit), emphasizing his devotion and reverence for her.

"Open thine eyes, for meek St. Agnes' sake, / Or I shall drowse beside thee, so my soul doth ache."

• Porphyro pleads with Madeline to open her eyes, invoking the name of St. Agnes, who is associated with purity and visions of love.
• He expresses that if she does not awaken, he will fall into a drowsy state beside her, as his soul is overwhelmed with emotion and longing, causing him physical and emotional pain.

Stanza 32

Thus whispering, his warm, unnerved arm Sank in her pillow. Shaded was her dream By the dusk curtains:—'twas a midnight charm Impossible to melt as iced stream: The lustrous salvers in the moonlight gleam; Broad golden fringe upon the carpet lies: It seem'd he never, never could redeem From such a stedfast spell his lady's eyes; So mus'd awhile, entoil'd in woofed phantasies.

"Thus whispering, his warm, unnerved arm / Sank in her pillow."

• Porphyro, whispering softly, allows his arm toeside Madeline on her pillow, indicating his closeness and the intimate nature of the scene.
• The description of his arm as "unnerved" suggests both his tenderness and the overwhelming emotions he is experiencing.

"Shaded was her dream / By the dusk curtains:—'twas a midnight charm / Impossible to melt as iced stream:"

• Madeline's dream is protected and shaded by the "dusk curtains," creating a sense of enclosure and privacy.
• The "midnight charm" that envelops her is described as unbreakable, "impossible to melt as iced stream," emphasizing the strength of the dream and the spell-like quality of the night.

"The lustrous salvers in the moonlight gleam; / Broad golden fringe upon the carpet lies:"

• The moonlight causes the "lustrous salvers" (serving dishes) to gleam, and the "broad golden fringe" on the carpet is highlighted, adding to the rich and luxurious atmosphere.
• These details contribute to the sense of opulence and the dreamlike quality of the scene.

"It seem'd he never, never could redeem / From such a stedfast spell his lady's eyes;"

• Porphyro feels as though he will never be able to break the "stedfast spell" that holds Madeline's eyes, indicating his fear that she may remain trapped in her dream state.
• This line reflects his anxiety and the powerful enchantment that seems to have taken hold of Madeline.

"So mus'd awhile, entoil'd in woofed phantasies."

• Porphyro becomes lost in his thoughts, entangled ("entoil'd") in a web of "woofed phantasies," suggesting that he is caught up in the fabric of his fantasies.

Stanza 33

Awakening up, he took her hollow lute,— Tumultuous,—and, in chords that tenderest be, He play'd an ancient ditty, long since mute, In Provence call'd, "La belle dame sans mercy": Close to her ear touching the melody;— Wherewith disturb'd, she utter'd a soft moan: He ceas'd—she panted quick—and suddenly Her blue affrayed eyes wide open shone: Upon his knees he sank, pale as smooth-sculptured stone.

"Awakening up, he took her hollow lute,— / Tumultuous,—and, in chords that tenderest be,"

• Porphyro, now fully awake and aware, takes Madeline's "hollow lute," indicating his decision to act.
• His emotions are described as "tumultuous," yet he plays the lute with the softest, most tender chords, reflecting the tension between his inner turmoil and his desire to be gentle.

"He play'd an ancient ditty, long since mute, / In Provence call'd, 'La belle dame sans mercy':"

• Porphyro plays an old, forgotten song from Provence titled "'La belle dame sans mercy'," which translates to "The Beautiful Lady Without Mercy."
• This reference adds a layer of irony and foreshadowing, as the song is about a knight bewitched by a merciless fairy lady, drawing a parallel to Porphyro's situation.

"Close to her ear touching the melody;— / Wherewith disturb'd, she utter'd a soft moan:"

• Porphyro plays the lute close to Madeline's ear, hoping to gently awaken her with the melody.
• The music disturbs her sleep, and she responds with a soft moan, indicating that she is beginning to wake.

"He ceas'd—she panted quick—and suddenly / Her blue affrayed eyes wide open shone:"

• Porphyro stops playing as soon as he notices her reaction, and Madeline begins to breathe quickly, a sign of her awakening.
• Her eyes, described as "blue" and "affrayed" (frightened), suddenly open wide, showing her shock and fear upon waking.

"Upon his knees he sank, pale as smooth-sculptured stone."

• Porphyro, overwhelmed by the intensity of the moment and Madeline's reaction, falls to his knees.
• He is described as being pale, "smooth-sculptured stone," emphasizing his fear and reverence, as well as his realization of the gravity of his actions.

Stanza 34

Her eyes were open, but she still beheld, Now wide awake, the vision of her sleep: There was a painful change, that nigh expell'd The blisses of her dream so pure and deep At which fair Madeline began to weep, And moan forth witless words with many a sigh; While still her gaze on Porphyro would keep; Who knelt, with joined hands and piteous eye, Fearing to move or speak, she look'd so dreamingly.

"Her eyes were open, but she still beheld, / Now wide awake, the vision of her sleep:"

• Although Madeline is now awake, she continues to see the vision from her dream, blurring the lines between reality and fantasy.
• This suggests that she is disoriented, struggling to reconcile the dream with the waking world.

"There was a painful change, that nigh expell'd / The blisses of her dream so pure and deep"

• As Madeline wakes, she experiences a "painful change" that nearly drives away the pure and deep bliss she felt in her dream.
• This transition from the dream to reality is jarring and distressing for her, as the dream's beauty fades in the face of reality.

"At which fair Madeline began to weep, / And moan forth witless words with many a sigh;"

• Overcome with emotion, Madeline begins to cry and utters "witless words," showing her confusion and sorrow as she sighs repeatedly.
• Her weeping highlights the intensity of the emotional shift she is experiencing.

"While still her gaze on Porphyro would keep; / Who knelt, with joined hands and piteous eye,"

• Despite her distress, Madeline continues to gaze at Porphyro, unable to look away.
• Porphyro remains on his knees, with his hands clasped and a "piteous eye," showing his deep concern and fear for what she might be feeling.

"Fearing to move or speak, she look'd so dreamingly."

• Porphyro is afraid to move or speak, seeing that Madeline still appears to be in a dreamlike state.
• Her "dreamingly" expression suggests that she is not fully present in reality, further emphasizing the fragile boundary between her dream and the waking world.

Stanza 35

"Ah, Porphyro!" said she, "but even now Thy voice was at sweet tremble in mine ear, Made tuneable with every sweetest vow; And those sad eyes were spiritual and clear: How chang'd thou art! how pallid, chill, and drear! Give me that voice again, my Porphyro, Those looks immortal, those complainings dear! Oh leave me not in this eternal woe, For if thou diest, my Love, I know not where to go."

"'Ah, Porphyro!' said she, 'but even now / Thy voice was at sweet tremble in mine ear,'"

• Madeline, still caught between her dream and reality, addresses Porphyro with a sense of longing and confusion.
• She recalls hearing his voice in her dream, describing it as "at sweet tremble," indicating how deeply it affected her.

"Made tuneable with every sweetest vow; / And those sad eyes were spiritual and clear:"

• In her dream, Porphyro's voice was perfectly attuned to every "sweetest vow," suggesting it was filled with love and sincerity.
• She also remembers his eyes as "spiritual and clear," emphasizing their purity and emotional depth.

"How chang'd thou art! how pallid, chill, and drear!"

• Upon waking, Madeline notices a stark contrast between the Porphyro of her dream and the one before her now.
• She sees him as "pallid, chill, and drear," indicating that the reality is far less idealized than her dream, contributing to her distress.

"Give me that voice again, my Porphyro, / Those looks immortal, those complainings dear!"

• Madeline pleads with Porphyro to return to the idealized version of himself that she experienced in her dream, expressing a desire for the "immortal" and perfect love she envisioned.
• Her longing for "those complainings dear" suggests that even his laments in the dream were cherished, underscoring the intensity of her attachment to the dream.

"Oh leave me not in this eternal woe, / For if thou diest, my Love, I know not where to go."

• Madeline begs Porphyro not to leave her in what she perceives as "eternal woe," fearing that without him, she will be lost.
• Her statement that she "know[s] not where to go" if he dies reveals her deep dependence on him and her sense of despair at the thought of losing him.

Stanza 36

Beyond a mortal man impassion'd far At these voluptuous accents, he arose Ethereal, flush'd, and like a throbbing star Seen mid the sapphire heaven's deep repose; Into her dream he melted, as the rose Blendeth its odour with the violet,— Solution sweet: meantime the frost-wind blows Like Love's alarum pattering the sharp sleet Against the window-panes; St. Agnes' moon hath set.

"Beyond a mortal man impassion'd far / At these voluptuous accents, he arose"

• Porphyro, deeply moved and inspired by Madeline's passionate words, rises with a heightened sense of emotion that seems to transcend normal human experience.
• The phrase "voluptuous accents" refers to the sensual and fervent tone of Madeline's speech, which has a powerful effect on him.

"Ethereal, flush'd, and like a throbbing star / Seen mid the sapphire heaven's deep repose;"

• Porphyro is described as "ethereal" and "flush'd," glowing with a sense of otherworldly passion.
• He is compared to a "throbbing star" against the backdrop of a calm, deep blue sky, emphasizing his vibrant, almost celestial presence in the stillness of the night.

"Into her dream he melted, as the rose / Blendeth its odour with the violet,— / Solution sweet:"

• Porphyro seems to merge seamlessly with Madeline's dream, likened to the way a rose's scent blends with that of a violet, creating a "solution sweet."
• This metaphor suggests a perfect union between them, where the boundaries between dream and reality dissolve in a harmonious blend.

"meantime the frost-wind blows / Like Love's alarum pattering the sharp sleet / Against the window-panes; St. Agnes' moon hath set."

• As this union takes place, the frost-wind outside intensifies, with the sleet hitting the window "like Love's alarum," a metaphor that suggests the outside world is mirroring the intensity of their emotions.
• The fact that "St. Agnes' moon hath set" signifies the end of the sacred night, marking a transition from the mystical to the inevitable return to reality.

Stanza 37

'Tis dark: quick pattereth the flaw-blown sleet: "This is no dream, my bride, my Madeline!" 'Tis dark: the iced gusts still rave and beat: "No dream, alas! alas! and woe is mine! Porphyro will leave me here to fade and pine.— Cruel! what traitor could thee hither bring? I curse not, for my heart is lost in thine, Though thou forsakest a deceived thing;— A dove forlorn and lost with sick unpruned wing."

"'Tis dark: quick pattereth the flaw-blown sleet: / 'This is no dream, my bride, my Madeline!'"

• The darkness and the sound of the sleet intensify, creating a sense of foreboding.
• Porphyro reassures Madeline that what she is experiencing is not a dream, calling her his "bride" and trying to anchor her in reality.

"'Tis dark: the iced gusts still rave and beat: / 'No dream, alas! alas! and woe is mine!'"

• Despite Porphyro's words, Madeline is still overwhelmed by the harsh reality, mirrored by the raging weather outside.
• She laments that this is not a dream, expressing her sorrow with "alas!" and declaring "woe is mine," indicating her deep despair.

"Porphyro will leave me here to fade and pine.— / Cruel! what traitor could thee hither bring?"

• Madeline fears that Porphyro will abandon her, leaving her to "fade and pine" away in sorrow.
• She expresses anger and betrayal, calling him "cruel" and wondering who could have led him to her, showing her confusion and hurt.

"I curse not, for my heart is lost in thine, / Though thou forsakest a deceived thing;—"

• Despite her pain, Madeline cannot bring herself to curse Porphyro because her heart is intertwined with his.
• She acknowledges that even if he leaves her, forsaking her as a "deceived thing," she still loves him, revealing her vulnerability and deep emotional attachment.

"A dove forlorn and lost with sick unpruned wing."

• Madeline compares herself to a "dove forlorn," a symbol of innocence and purity that is now lost and weakened.
• The "sick unpruned wing" suggests that she feels broken and unable to escape her sorrow, adding to the tragic tone of her lament.

Stanza 41

They glide, like phantoms, into the wide hall; Like phantoms, to the iron porch, they glide; Where lay the Porter, in uneasy sprawl, With a huge empty flaggon by his side: The wakeful bloodhound rose, and shook his hide, But his sagacious eye an inmate owns: By one, and one, the bolts full easy slide:— The chains lie silent on the footworn stones;— The key turns, and the door upon its hinges groans.

"They glide, like phantoms, into the wide hall; / Like phantoms, to the iron porch, they glide;"

• Porphyro and Madeline move silently and stealthily through the mansion, their movements described as ghostly ("like phantoms").
• The repetition of "like phantoms" emphasizes their quiet and ethereal presence as they make their way to the exit.

"Where lay the Porter, in uneasy sprawl, / With a huge empty flaggon by his side:"

• As they reach the porch, they find the porter sprawled out in an uncomfortable position, likely drunk and unconscious, with an empty flagon beside him.
• This detail highlights the carelessness and inebriation within the household, which aids their escape.

"The wakeful bloodhound rose, and shook his hide, / But his sagacious eye an inmate owns:"

• A bloodhound, initially alert, rises and shakes itself off, suggesting it is about to react to their presence.
• However, recognizing Madeline as an "inmate" (someone belonging to the household), the dog does not raise an alarm, which helps them avoid detection.

"By one, and one, the bolts full easy slide:— / The chains lie silent on the footworn stones;—"

• Porphyro carefully slides the bolts of the door, one by one, without making any noise, ensuring their escape is as quiet as possible.
• The chains, which could have made noise and alerted others, remain silent on the "footworn stones," further emphasizing their stealth.

"The key turns, and the door upon its hinges groans."

• The key finally turns in the lock, and the door creaks open, making a "groaning" sound on its hinges, a subtle reminder of the tension and risk involved in their escape.

Stanza 42

And they are gone: ay, ages long ago These lovers fled away into the storm. That night the Baron dreamt of many a woe, And all his warrior-guests, with shade and form Of witch, and demon, and large coffin-worm, Were long be-nightmar'd. Angela the old Died palsy-twitch'd, with meagre face deform; The Beadsman, after thousand aves told, For aye unsought for slept among his ashes cold.