Narrative perspective in “A Castaway” and “Jenny” elicit a kind of sympathy and pathos through monologues in which the characters ultimately, resignedly give. Human Tigresses, Fractious An- gels, and Nursery Saints: Augusta. Webster’s A Castaway and Vic- torian Discourses on Prostitution and Women’s Sexuality. Because Augusta Webster’s poetry involves explicit cultural critique, For instance, Webster’s dramatic monologue “A Castaway,” written in the voice of a kept.
|Published (Last):||11 September 2018|
|PDF File Size:||2.40 Mb|
|ePub File Size:||4.36 Mb|
|Price:||Free* [*Free Regsitration Required]|
Only one week more and ‘twould have ended: Some one at last, thank goodness. Quiet is hell, I say — as if a woman could bear to sit alone, quiet all day, and loathe herself, and sicken on her thoughts.
On what grounds does she take comfort?
Although later in her career Webster did occasionally publish poems in periodicals, and some of her poems were reprinted in anthologies, readers in would only have encountered these poems in the collection entitled Portraitsor extracted in critical reviews of the same volume. What circumstances made his rejection especially galling?
I would not have another. Will no one come? auguwta
How could I henceforth be content in any life but one that sets the brain in a hot merry fever with its stir? For what does she long? The blameless life, but never the content — never. Why must there be pretence of teaching them what no one ever cares that they should know, what, grown out of the schoolroom, they cast off like the schoolroom pinafore, no better fit for any use of real grown-up life, for any use to her who seeks or waits the husband castaqay the home, for any use, for any shallowest pretence of use, to her who has them?
In the discussion which follows, I focus casttaway points of connection among the pairs and groups of poems that constitute Portraitsprecisely because the individual voices which speak in these poems are so strong as to sometimes distract us from the coherent project that Webster offers in this book. Were these pursuits chosen in light of her future?
This anxious age is driven half mad with work, it bids us all work, work: Well, after all, there’s not much difference between the two sometimes. Can you think of other sonnet sequences devoted to parenthood, or the love of parent for child?
How has her identity been altered by her sense of aging in Victorian society? And how, so firmly clutching the stretched hand, as death’s pursuing terror bids, even so, how can one reach firm land, having to foot aguusta treacherous crumbling soil that slides and gives and sucks one in again? Romanticism and Victorianism on the Net Are we supposed to view her as admirable?
How one would clutch at youth to hold it tight! I was not all that then. And who would give it me? I think indeed some kind hand, a woman’s — I hate men — had stretched itself to help me to firm ground, taken a chance and risked my falling back, could have gone my way not falling back: Then for ambition, was there ever life that could forego that?
Dickens and the Necropolitan Library. Oh, I have drifted on before webter winds 6 and made ignoble shipwreck, not to-day could any breeze of heaven prosper me into the track again, nor any hand snatch me out of the whirlpool I have reached; but then?
Such repetitive social rituals seem particularly wasteful given the knowledge and resources of the modern world, which Webster consistently describes throughout Portraits as a textual plenitude: The arrangement of poems in Portraits encourages the reader to webtser the ambition, self-interest, and inspiration of its many speakers, yet here Webster gently counters that same process of judgment by suggesting that there are always alternative perspectives.
Important issues such as societal views of prostitution and attempts at reformation are also highlighted in the poem.
Florence Boos: Study Questions, Augusta Webster, “A Castaway”
Well, mine’s a short way and a merry one: Would the poem’s likely readers have identified with this past? What matters most to Medea is what Jason might have thought of her second marriage. Do I not know this, I like my betters, that a woman’s life, her natural life, her good life, her one life, is webtser her husband, God on earth to her, and what she knows and what she can and is is only good as it brings good to him?
Who says I had my choice? Well, well; I know the wise ones talk and talk: Why did she come alone, the cackling goose?
Was I this good girl, this budding colourless auusta rose of home? But, if they can, let them just take the pains to keep them: All information has been reproduced here for educational and informational purposes to benefit site visitors, and is provided at no charge By contrast, what gives her happiness? Does it seem to you unfinished?
A Castaway Poem by Augusta Davies Webster – Poem Hunter
I could have lived by that rule, how content: Well, it fell soon. I the thing of shame and rottenness, the animal that feed men’s lusts and prey on them, I, I, who should not dare to take the name of wife on my polluted lips, who in the word hear but my own reviling, I know that.
Could I not at least have still let him forget me? Now, sing song, ding dong, come the old vexing echoes back again, church bells and nursery good-books, back again upon my shrinking ears that had forgotten — I hate the useless memories: