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Lord George Gordon Byron (Lord Byron)A modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Darkness and brightness symbolize the duality of beauty as “all that’s best of dark and bright / Meet in her aspect and her eyes” (Lines 3-4). Beauty shines and beams, but it’s also something of a veil; there’s a mysterious component to the concept. Yet the presence of darkness doesn’t mean that the woman’s beauty is malevolent. The woman maintains a “mind at peace” (Line 17) and a “heart whose love is innocent” (Line 18). Darkness symbolizes the mystifying aspects of beauty. There are things about beauty that resist categorization, which is why the woman carries a “nameless grace” (Line 8).
The lightness arguably symbolizes the more conventional aspects of beauty. Light generally represents something visible or wholesome, and beauty is a positive trait that often takes center stage. The woman emits “tender light” (Line 5) and “tints that glow” (Line 15). She illuminates the poem with her admirable beauty. The light represents the clarity of her beauty or the obvious and transparent elements. Darkness hints at its enigmatic traits, but brightness reinforces beauty’s explicitness. The woman in the poem is beautiful; it’s why she gets so much light—so people can see her.
The “she” symbolizes the importance of the individual—a critical part of the Romantic program. While the description of the “she” may fetishize and objectify this person, the objective “she” is still a human. The human is the focal point of the poem, and it was at the center of the Romantic agenda. The woman represents the subjective individual experience. Countering Enlightenment ideas, human life isn’t rational but a product of mysterious and intangible elements. The “she” remains enigmatic since the speaker never tells her name. They also don’t clarify what kind of a “she” the person is. It’s left up to the reader to decide if she’s a woman, a young woman, or, as the biographical circumstances of the poem indicate, a girl. The woman’s obscure identity reinforces the Romantic idea that much of life is illegible—it’s humans confronting and embracing mostly unfathomable factors.
At the same time, the “she” or woman symbolizes a relatively standard portrait of feminine beauty. The poem presents the woman as sweet and innocent; it turns her into a delicate object. Here, she’s not so much a human but a commodity. Her value depends on her looks and maintaining her purity—expectations that societies don’t often apply to men. The woman symbolizes the sexist, condescending tropes that existed during the 1800s, before the 1800s, and that continue to impact women today.
The poem centers on the motif of looking. To describe the woman, the speaker has to look at her. The speaker examines the woman closely. While they don’t assign the woman a specific name or provide a precise definition of beauty, they are exact about the body parts that interact with the enigmatic idea of beauty. The speaker zeroes in on her eyes, hair, and face, and they demonstrate how their light links to beauty.
The motif of seeing links to the idea of the male gaze, which the theorist Laura Mulvey develops in her essay “Visual Pleasure and Narrative Cinema” (1975), saying, “[i]n a world ordered by sexual imbalance, pleasure in looking has been split between active/male and passive/female. The determining male gaze projects its phantasy onto the female figure.”
Mulvey thinks of the male gaze in terms of watching movies, but the male gaze relates to all aspects of life, including poetry. In conversation with Mulvey’s text, the speaker in “She Walks in Beauty” becomes a male as he gazes at and projects his sentimental fantasies onto the “she” of the poem. The “she” brings the male speaker pleasure, so he writes a poem about her. Yet even in the context of the male gaze, the speaker could maintain a gender-ambiguous identity, as anyone can fetishize another person or look at them as an object.
By Lord George Gordon Byron (Lord Byron)