An In-Depth Look at "She Walks in Beauty"
Many people find it hard to express feelings of love or adoration to the person that has captured their attention. In Lord Byron's poem "She Walks in Beauty," the speaker describes his admiration of a beautiful lady in eighteen lines. The ABABAB tetrameter sets a soothing poem, the metaphors and similes describes the woman being a unique beauty, and the tone of the poem lets the reader believe that the speaker idolizes and adores the lady being describe, causes the reader to feel the adoration the speaker has for the lady.
To fully appreciate the ballad of "She Walks in Beauty" the reader has to read the poem aloud, to hear the soothing and rhyming iambic tetrameter in the poem. Lord Byron's "She Walks in Beauty" each stanza consist of a sestet, following the rhyming scheme of lines 1, 3, and 5 rhyming; also lines 2, 4 and 6 rhyming. For example in the first stanza, the lines end with: "night… bright…light" (1, 3, 5) for the A; for the ending B, the lines end with "skies…eyes…denies" (2, 4, 6). Furthermore, the naturally stressed syllable in each line follows the four hard stressed syllables. For instance, in the first line "She walks in beauty, like the night" the stressed syllables are: walks, beau [ty- not stressed], like, and night (1). While reading "She Walks in Beauty" aloud, the reader will noticed the stressed syllables in the words, which when paired with the ABABAB rhyming scheme cause the entire poem to flow in a smooth fashion.
Metaphors and similes are used to give a deeper meaning than the literal word itself. The similes, "showing of likeness or resemblance"(584), is used to set the overall theme of the poem, that the woman being describe is a unique beauty. In the opening line, "She walks in beauty, like the night Of cloudless climes and starry skies;" the speaker compares the lady to a beautiful night with the stars shining brightly. In the second stanza, the speaker mentions how the beauty that he adores is unique, "One shade the more, one ray the less, had half impair'd the nameless grace Which waves in every...