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view of Maud herself, remains unresolved. The poem is a distorted view of a single reality, and the variation in meter can be seen to reflect the manic-depressive emotional tone of the speaker. While the poem was
Tennyson's own favourite (he was known very willingly to have recited the poem in its entirety on social occasions), it was met with much criticism in contemporary circles.
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return he arranges a ball, invites the collier and leaves the narrator out. During the ball the poet waits for Maud in the garden, leading to the famous line "Come into the garden, Maud". Early in the morning Maud comes out. Shortly afterwards Maud's brother also appears and strikes the narrator, who kills him in an unnarrated
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style of the love-poem is combined with a contemporary cynicism, and so the
Victorian tendency to look to remote cultures (here, medievalism) is insufficient. The interweaving of death and life images gives expression to the greater concern for the afterlife, and the movement of the human race into a
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The appearance of Maud's brother causes conflict. Maud's brother favours a collier who is seen as an upstart as his family have been rich for only three generations, and forbids Maud to contact the narrator. The brother goes to London for a week, giving the narrator a chance to court Maud, but on his
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The interpretation of "Maud" is complicated by the compromised position and the emotional instability of the narrator. This is expressed through a variety of poetic meters and forms as well as a proto-cinematic cycling of imagery. The puzzle of the outside sphere of "Maud", for example, the point of
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The first part of the poem dwells on the funeral of the protagonist's father, and a feeling of loss and lament prevails; then Maud is the prevailing theme. At first the narrator is somewhat antagonistic towards Maud and is unsure whether she is teasing him; he feels Maud is unfit to be a wife. Later
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The poem was inspired by
Charlotte Rosa Baring, younger daughter of William Baring (1779–1820) and Frances Poulett-Thomson (d. 1877). Frances Baring married, secondly, Arthur Eden (1793–1874), Assistant-Comptroller of the Exchequer, and they lived at Harrington Hall, Spilsby, Lincolnshire, which is
329:. The complex of feeling is ephemeral, and the culmination of these feelings ends in the unsatisfactory conclusion of the Crimean War. Tennyson is expressing the feelings of an age where identity, intellect and modernity were contentious issues. He does not offer a clear, linear answer. The
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The narrator is forced to flee to France where he learns later that Maud has also died. Maud's death impacts on the psychological state of the protagonist, and an emotional longing for contact with the deceased echoes the tones of
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In "Maud", Tennyson returns to the poetry of sensation, and dwells on a consciousness constituted of fragments of feeling. He deliberately denies an autonomous voice, and the ending is deeply
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the narrator falls passionately in love with Maud and this transforms the narrative into a pastoral, dwelling on her beauty.
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the garden of the poem (also referred to as "the Eden where she dwelt" in
Tennyson's poem "The Gardener's Daughter").
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Bennett, James R. "The
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The poem ends in Part III, with the narrator, ostensibly restored to sanity, leaving to fight in the
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Inglesfield, Robert. "Tennyson's 'Come into the Garden, Maud' and the Song of
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522:(Online text of the section of "Maud" starting "Come into the Garden Maud")
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Bristow, Joseph. “Nation, Class, and Gender: Tennyson’s ‘Maud’ and War".
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Shires, Linda M. "Maud, Masculinity and Poetic
Identity".
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Shepherd, Richard Herne. "The
Genesis of Tennyson’s 'Maud
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Jalili, Duraid. "Lamenting Maud's Worth
Becoming Maud"
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Bennett, James R. "Maud, Part II: Maud's Battle-Song".
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460:. Ed. John Jump. London: Routledge, 1967. 186-90.
431:. Berkeley: University of California Press, 1963.
395:Dransfield, Scott. “The Morbid Meters of Maud".
346:, who set "Come into the garden, Maud" to music
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526:"Webster Booth – 'Come Into the Garden, Maud"
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159:", which had already been published in the
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429:Tennyson's Maud: The Biographical Genesis
309:Learn how and when to remove this message
111:Learn how and when to remove this message
472:Critical Essays on Alfred Lord Tennyson
352:, who sang "Come into the garden, Maud"
369:Come into the Garden, Maud: A Cavatina
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287:adding citations to reliable sources
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563:Alfred Tennyson, 1st Baron Tennyson
516:. Boston: Ticknor and Fields, 1855.
465:Cycle of Songs from Tennyson's Maud
334:different age from past monuments.
456:1 (Nov 1855). 14–15. Reprinted in
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155:Among the "other poems" was "
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856:Flower in the Crannied Wall
505:public domain audiobook at
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367:Balfe, Michael William.
183:Ode on the Death of the
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60:"Maud, and Other Poems"
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578:Poems, Chiefly Lyrical
165:a few months earlier.
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130:Maud is only seventeen
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635:The Miller's Daughter
513:Maud, and Other Poems
502:Maud, and Other Poems
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416:Markovits, Stefanie.
406:37.1 (1999): 121–123.
399:46.3 (2008). 279–297.
344:Michael William Balfe
141:Maud, and Other Poems
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863:The Higher Pantheism
649:The Ballad of Oriana
628:Mariana in the South
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45:improve this article
789:St. Simeon Stylites
676:Break, Break, Break
600:The Lady of Shalott
528:(Video of the song)
463:Somervell, Arthur.
997:Frederick Tennyson
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185:Duke of Wellington
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43:Please help
38:verification
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894:Other works
849:Enoch Arden
827:Late poetry
782:Sir Galahad
350:Marie Lloyd
245:Crimean War
237:In Memoriam
180:The Letters
144:(1855) was
1025:1855 poems
1019:Categories
981:(grandson)
975:(grandson)
910:The Window
718:Lady Clare
593:The Kraken
357:References
152:in 1850.
71:newspapers
999:(brother)
993:(brother)
842:The Eagle
711:St. Agnes
447:Criticism
411:Crrritic!
331:chivalric
270:does not
217:Narrative
189:The Daisy
101:July 2007
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987:(sister)
884:Tithonus
642:Claribel
507:LibriVox
338:See also
169:Contents
162:Examiner
921:Related
817:Ulysses
614:Mariana
390:Genders
291:removed
276:sources
85:scholar
963:(wife)
954:People
904:(play)
763:(1842)
704:Godiva
668:Poetry
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581:(1830)
520:"Maud"
327:ironic
208:"Maud"
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198:Will
174:Maud
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