Thanks for introducing me to this poem, Liza! The bait-and-switch of Wilde's imagery -- after the wholesome "waking life" of country waggons coming into the city and a singing bird -- is made more stark by the suggestion that this lonely woman is a prostitute still looking for work. A woman all alone "loitering" as the sun comes up suggests that she's been there through the dark, attracted to "the gas lamps' flare." She is pale and wan, now kissed only by the daylight, though her "lips of flame" have been painted red to attract some life. Her efforts have failed, and she is as good as dead with "a heart of stone" -- the words Ezekiel uses when we are dead in our sins. Ending the poem with that phrase repudiates the promise given by Ezekiel's prophecy when God says, "I will give you a new heart and put a new spirit in you; I will remove from you your heart of stone and give you a heart of flesh." This is a morning without hope of redemption.
Interesting! Wilde's verse style is very conservative (about the only conservative thing about him), but his images are nicely balanced. I especially appreciate the changing of the guard, as the first bird of the morning overlaps with the last lady of the evening. Of course dawn is always a transition, but usually the emphasis is on the night or the day themselves with the transition somewhat muted in emphasis. Here, the transition is in the foreground; the poem is as much about change as about what is changed from and to. It is as if we are catching London, rather two-faced, in the middle of changing expression.
Misleading is the word. The poem is full of contrast especially in its progression. It baits you into thinking we are witnessing a city “waking up” symbolized by the Morning in the title. We are also primed to engage with this evolution towards light and life by the subjects of the poem: first the material city, then animals, then humans. This mirrors the city starting its day and streets being stirred by movement.
The Woman breaks the march of the day. She is described as “pale” with “wan hair” and “loitering”. All adjectives pointing to an appearance of life but without true internal vivacity. The final contradiction is cemented with the “lips of flame” but the “heart of stone”.
I love your assessment that she “blends with the city”. In fact I think she represents the city of London who seems to be full of life when looked at superficially but might mislead us into forgetting that it’s a concrete (stone) jungle.
Have you seen the substance yet? It made me think of The Picture of Dorian Gray but modern, sci fi, and feminist. Would love to read an article on that!
I have not actually because I have a very low gore tolerance but you have certainly piqued my curiosity with the Dorian Gray parallel... Might have to reconsider!
Thanks for introducing me to this poem, Liza! The bait-and-switch of Wilde's imagery -- after the wholesome "waking life" of country waggons coming into the city and a singing bird -- is made more stark by the suggestion that this lonely woman is a prostitute still looking for work. A woman all alone "loitering" as the sun comes up suggests that she's been there through the dark, attracted to "the gas lamps' flare." She is pale and wan, now kissed only by the daylight, though her "lips of flame" have been painted red to attract some life. Her efforts have failed, and she is as good as dead with "a heart of stone" -- the words Ezekiel uses when we are dead in our sins. Ending the poem with that phrase repudiates the promise given by Ezekiel's prophecy when God says, "I will give you a new heart and put a new spirit in you; I will remove from you your heart of stone and give you a heart of flesh." This is a morning without hope of redemption.
Interesting! Wilde's verse style is very conservative (about the only conservative thing about him), but his images are nicely balanced. I especially appreciate the changing of the guard, as the first bird of the morning overlaps with the last lady of the evening. Of course dawn is always a transition, but usually the emphasis is on the night or the day themselves with the transition somewhat muted in emphasis. Here, the transition is in the foreground; the poem is as much about change as about what is changed from and to. It is as if we are catching London, rather two-faced, in the middle of changing expression.
Excellent analysis!
Misleading is the word. The poem is full of contrast especially in its progression. It baits you into thinking we are witnessing a city “waking up” symbolized by the Morning in the title. We are also primed to engage with this evolution towards light and life by the subjects of the poem: first the material city, then animals, then humans. This mirrors the city starting its day and streets being stirred by movement.
The Woman breaks the march of the day. She is described as “pale” with “wan hair” and “loitering”. All adjectives pointing to an appearance of life but without true internal vivacity. The final contradiction is cemented with the “lips of flame” but the “heart of stone”.
I love your assessment that she “blends with the city”. In fact I think she represents the city of London who seems to be full of life when looked at superficially but might mislead us into forgetting that it’s a concrete (stone) jungle.
Have you seen the substance yet? It made me think of The Picture of Dorian Gray but modern, sci fi, and feminist. Would love to read an article on that!
I have not actually because I have a very low gore tolerance but you have certainly piqued my curiosity with the Dorian Gray parallel... Might have to reconsider!
Great break down I figured the woman as a prostiute,terribly bleak London
I think she is a prostitute, deadened in heart by her encounters in the city. It fits with Wilde's sadness ...each man kills the thing he loves.