Beauty Within and Without

She Walks in lulu was written by George Gordon, gentle Byron, an face poet during the early nineteenth century. The poetry falls within the genre of wrangle poetry in which the poet expresses his thoughts and imaginations (Clugston, 2010, section 11. 3). Romance is the substitution emotion in the poem however, it is governed by a theme of principles which metaphorically balances interior(a) value with sheer international beauty. Being married for many years, my connection with the poem was in looking back to the moments when I go ford similar make fors of quixoticist poetry to communicate my affections for my wife during the early stages of our engagement.I also effectuate familiarity in the importee of the last stanza of the poem which has an almost identical meaning to a cable from the closing speech of one of my favorite romantic comedies written by William Shakespe be entitled, The Taiming of the Schrew. She Walks in Beauty embodies both(prenominal) engaging cloy a nd form using contrasting opposites however, its theme that external beauty is a reflection of inner morality has a valuable message for conjunction that real beauty is a combination of inner goodness and superficial appearance.I was engaged by the content of the She Walks in Beauty by dint of its image of realism created by the speaker as he is intently focused on a vision of sheer beauty date also recognizing qualities of virtue and innocence. His main convention for holding this image throughout this eighteen-line poem is by contrasting opposites such as the dark with the easygoing or the night with the day. For example, two opposites are brought together in the jump two lines of the poem aided by the most obvious place of a clear and starry, oonlit night in lines 1 and 2 of stanza 1 She walks in beauty, like the night followed by Of cloudless climes and starry skies and once again in line 3 he also examines opposites with dark and vivid (as cited in Clugston, 2010, se ction 11. 3, stanza 1). Again in line 7, he compares opposites among shade and ray and amidst more and less and again between lines 9 and 10 he compares ravens with lightens (Clugston, 2010, section 11. 3, stanza 2). His skill here in doing this type of contrasting is quite rum and not actually the traffic pattern style of comparing two like items used during this romanticism run awayer point in history.The content was very engaging however, I also instal the form of this piece of poetry to be engaging by use of metaphors, enjambed lines, and the whole thought of the poem reflecting the theme throughout with keen observations of inner and outer beauty. For example, he begins to comment on the blend of her morale attributes in lines 11 and 12 where a word picture is used to measure up her mind. He says her thoughts (line 11) are a dwelling place (lines 12) that are both pure and dear (Clugston, 2010, section 11. 3, stanza 2).Lord Byron makes good use of enjambed lines in the opening of the poem because there should not be a break after line 1. Instead the referee should continue to the end of line 2 without pause which when read thus, a musicality is brought out that makes the inaugural two lines sound as effortless and beautiful as the adult females remarkable appearance. Since the poem is about a womans effortless beauty it is quite cleaver of the poet to assign a rhythmical meter that is balanced with her appearance. The poem is set in limbic tetrameter with an ABABAB poesy scheme (Shmoop Editorial Team. November 11, 2008). She Walks in Beauty Rhyme, Form & Meter. Retrieved May 16, 2011, from http//www. shmoop. com/she-walks-in-beauty/rhyme-form-meter. html). both the content and form were appealing to me however, I had a most remarkable connection to the last stanza regarding its meaning. The most appealing aspect of stanza 3 is that it is central to the theme that inner goodness is a reflection of external beauty.I found that this theme is also thematically represented in a speech made at the end of William Shakespeares romantic comedy entitled, The Taiming of the Schrew. During the last scene of the play, the character of Kate played by the late Elizabeth Taylor period scolding two companions regarding how and why they should reverence their husbands spoke these words, Why are our bodies soft, and weak, and smooth . . . But that our soft conditions and our hearts Should well agree with our external parts (SparkNotes Editors, 2002, Analysis Act V, scene ii). This statement is a stainless parallel with the theme for She Walks in Beauty which is that inner goodness is a reflection of external beauty. She Walks in Beauty has wonderful content and form and the poet maintains a sense of realism throughout while keeping the reader focused on a positive theme that inner goodness is a reflection of external beauty. Though it was not the norm to compare opposites in poetry, Lord Byron chose to explore this side of literary writ ing. Moreover, She Walks in Beauty is one of the most memorable forms of lyric poetry ever created crediting Lord Byron as one of the Romantic periods outstanding poets.ReferencesClugston, R. W. (2010). jaunt into literature. San Diego, California Bridgepoint Education, Inc. Shmoop Editorial Team. (November 11, 2008).She Walks in Beauty Rhyme, Form & Meter.Retrieved May 16, 2011, from http//www.shmoop.com/she-walks-in-beauty/rhyme-form-meter.html SparkNotes Editors. (2002). SparkNote on The Taming of the Shrew. Retrieved May 16, 2011, from http//www.sparknotes.com/shakespeare/shrew/