A103 Introduction to the Humanities

University Degree Linguistics, Classics and related subjects

A210 – Approaching Literature

TMA 03

‘The Birth-Day’ by Mary Robinson

Write an essay of not more than 1500 words in which you analyse the poem and comment on the poetic form and language used and the way they contribute to the meaning and effects of the poem.

‘The Birth-Day’ uses various techniques to convey Robinson’s indignation at the vast social differences of her time. It incorporates great social commentary and as was often typical of Romantic poetry, is highly politically motivated. Robinson’s use of form and language conveys her attempt at poetry being “a force which reforms and is even at variance with society” (Romantic Writings, p.80). She is representing Percy Shelley’s ideal of the poet embodying truth, as she attempts to convey the sufferings of the lower-classes. As Shelley states that “Poets are the unacknowledged legislators of the world” (Romantic Writings: An Anthology, p.366), Robinson endorses that viewpoint, as she endeavours to highlight the discrepancies of the social world, as she sees it.

The title of the poem alludes not only to the celebration of the royal birthday, but is utilized to draw attention to the conflicting reactions of the pomposity from the upper-classes on a day which is usually a cause for celebration, compared with the inescapable misery of the lower-classes.

This narrative poem is similar to a ballad form, as it tells its story. A third-person narrator stands back from the scene to report on events. The form of the poem uses iambic tetrameter lines, which provide a singsong rhythm. This helps to illustrate the harsh comparisons between rich and poor, as the poem flows back and forth between the two social classes. The poem has eleven quatrains, which leads us to ask if there is an “extra” quatrain (to the natural symmetry of an even number of stanzas). The last stanza appears to be the stand-alone or extra stanza as it is unlike the previous ten; this stanza provides the conclusion and warning, containing mainly dialogue, unlike the other quatrains.

The form of the poem is typical of a Romantic-period poem, not only for its politically social messages (as summarised above), but also for its didactic purpose and for its use of sensibility (for example, the appearance of children (stanzas four and nine), evoking pity). The Romantic period was influenced by a growing cult of sensibility and Robinson focuses on such feelings, trying to induce our sympathy and outrage, while also emphasising the complete lack of sensibility and maternal-instinct of the Duchess. However, unlike various other Romantic works (for example, by Wordsworth), Robinson’s “sensibility” is not defined by gender, ...

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Throughout the poem is the recurring use of the deictic “here” and “there”, with Robinson often changing the syntax to ensure that these two words come at either the beginning or end of a line. This repetition draws us in, alternating with the “here” of the ostentatious pomposity and the “there” of miserable poverty, pointing out the gulf between these two social orders.

Most importantly, this is a poem of comparisons, continually ebbing and flowing between the stark contrasts of a wealthy and a deprived life. This is aided by the poem’s simple rhyme scheme of ABAB CDCD and so on, which flows back and forth, as do the comparisons. Different voices and points of view are heard throughout, another evocation of Romantic poetry.

The first stanza opens to a staccato phrase with powerful kinetic and visual imagery of a majestic entrance. We have the comparison of the harsh alliteration of “gaudy, gilded” of the prosperous finery and then the softer alliteration of the “melancholy mourner”. We are given a prime example of how the poem continues, with Robinson using an abundance of adjectives. Stanza 2 provides another example of this, as not just a “Countess” appears, but a “pampered” Countess, giving us (for Robinson’s time of writing) the more unusual portrayal of female rather than male authority. Again, next comes the comparison with the wretched who are “wrung by poverty and pain”, the alliteration emphasising their plight. Misery is then given a capital letter, giving us personification of their emotions, as Misery “mingles” among them.

We have the instant colourful comparison between the end of stanza 2 and the beginning of stanza 3, as “Pale Misery” is contrasted by the “blazoned chariot”. As the kinetic imagery of the “prancing horses” tormenting the crowd occurs, we have the narrator’s opinion of these higher-class people being “empty, vain and proud”. This mocking tone continues in stanza 4, as the lady becomes a mere “painted dame”. At the end of line 2 of this stanza, we are given an important caesura, which leads us into the importance of lines 3 and 4. This caesura, along with the alliteration of lines 3 and 4 and with the break from iambic tetrameter lines, ensures the reader must be careful and take time with their reading of these lines. The “sad, shivering child of need” is intended to evoke feelings of sensibility, pity and maternal emotions, typical of a Romantic poem.

Stanza 5 starts with our first direct speech and the syntax of lines 1 and 3 are altered to allow for the rhyming scheme. The aural and kinetic imagery draws us in, as we feel the need to “shrink before the threatening sound”.

Stanza 6 is another important stanza, which again necessitates slow and careful reading by the use of caesuras, plurals, alliteration (the sibilance of the “s” sound throughout lines 1 to 4) and breaks from iambic metre. This listing of opulence contrasts vividly with the anguish endured by the poverty-stricken. The Duchess may sit “demure”, but she is described as “senseless”. This can be taken on several levels; she not only appears senseless of the suffering around her, but she also seems devoid of all senses and feelings. We know nothing of the Duchess herself, only her outside decorated persona, which continues into stanza 7. The alliteration of line 2 in stanza 7 of “neither knows nor pities pain” is difficult to read and obtains our attention. Lines 2 to 4 are really the crux of this poem; she “overlooks” the “beggar freezing at her door” with “nice disdain”. The oxymoron of “nice disdain” underlines the attitude of the wealthy, and their utter incomprehension of the sufferings of poverty. Her outlook seems to stem from ignorance, rather than malice, but our repugnance is heightened by the continual contrasts throughout this poem.

The assonance of “scarce dares” at the beginning of line 2 of stanza 8 highlights how these poorer people are dispirited and broken; whereas the majestic parades provided vociferous aural imagery in previous stanzas, this “wretch whom poverty subdues” can provide only little noise as “his loudest murmur is a sigh”.

Stanza 9 opens with two lines of periphrasis, used to draw out this pitiful image of a starving baby. The sensibility creeps in again and maternal instinct is denied, as the “poor wan mother” is unable to fulfil her role as a providing mother.

Stanza 10 brings about further criticism by the narrator for the utter lack of comprehension by these “high-born fools” of the poverty around them. The narrator denounces their absolute ignorance for condemning “pangs they never know”. The personification of the voices of the underprivileged is in line 2, as the “faltering tongue” tries to make the upper-classes understand their plight; but of course it still falls on deaf ears, highlighted by the alliteration of “how little heeded here” is their woe.

At stanza 11, the final stanza, the poem reaches its conclusion and we are given the turn of the poem as the narrator and tone changes significantly. Reason is personified and provides the warning to the “Pomp” class of people that their “glittering day” will be over once they are in their “tomb”. In other words, we are all equal when dead. The final deictic “there” is now mocking the rich, rather than highlighting the difficulties of the poor, as it has done previously. The final two lines can be taken two ways: as Christian equality in heaven of these two differing classes or on a more literal level of the equality in death, as we are all bodies in the ground once we are dead and no pomp or circumstance can change that outcome.

There are two obvious sets of people in this poem. The poverty-stricken are to be pitied and are always sad, over-run and quiet. They are described as “melancholy”, “shivering”, “wretched” and “little heeded” and they are quiet as they “creep” and “shrink”. The uncaring affluent are ludicrous in their pomposity and are “pampered”, “painted”, “vain” and “senseless”. They are always loud and colourful with their “jewels, feathers, flowers” all “silvered and embroidered” and with their “threatening sound”. They are oblivious to the obvious suffering around them, treating it with “nice disdain” and ignorantly condemning with “frown austere”. All of this leads us powerfully to the final stanza and the ultimate equality that lies ahead in death, which has never been felt during their lifetime. The language Robinson uses is relatively formal, therefore appealing to the kind of reader (middle to upper class) who is subject to her desire for revolutionary transformation. Robinson has skilfully manoeuvred her reader into compassion, by using various language and poetic techniques such as rhythm, alliteration and repetition. She has also effectively used various techniques common to the Romantic period, such as sensibility and didactic tones, to convey her political message. All of these techniques discussed help to influence her reader and this poem is Robinson’s attempt to change the world, a true Romantic ideal.