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In the latter half of the 20th Century, women found themselves ensnared within the restrictive confines of societal expectations that dictated adherence to gender ideals—specifically, subservience, piety, and an emphasis on physical beauty. Within this patriarchal framework, both Mary Elizabeth Coleridge and Amy Lowell sought to articulate and challenge the victimization experienced by women. Examining their respective poems, "The Other Side of the Mirror" and "Patterns," the poets bring to light the underlying yearning for freedom, shedding light on the repressive and harsh environment women navigated.
The patriarchal ideal of femininity, perpetuated by societal norms, places immense importance on the physical beauty of women, often reducing them to mere objects valued for their external appearance.
Coleridge's "The Other Side of the Mirror" exemplifies this dehumanization through the stark portrayal of a face "bereft of loveliness." The deliberate choice of the word 'loveliness' accentuates the societal emphasis on physical attractiveness, emphasizing how women devoid of conventional beauty are disregarded by men.
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Similarly, Lowell underscores the societal expectations of feminine beauty by symbolizing the restrictions imposed on women through the image of the "fine brocaded gown" in "Patterns."
The juxtaposition of the natural environment's movement, described as 'blowing' and 'fluttering in the breeze,' with the constrictions of the 'stiff brocaded gown' highlights the inherent contradiction in societal expectations. This contradiction is further intensified by the use of the plosive sound 'k' in 'brocaded,' creating a sense of discomfort and disjointedness that mirrors the societal suppression of women. Coleridge employs a structured rhyming scheme of 'a,b,a,b,c,b' to mirror the predictability of societal patterns, reinforcing the notion that women are expected to conform to these patterns despite their internal yearnings for liberation.
However, the inability of female characters to express their true selves forces them to maintain a facade, leading to inner turmoil.
Coleridge delves into the destructive emotional consequences of suppression, portraying the persona in "The Other Side of the Mirror" as troubled and severely depressed. The alliteration of 'wild… womanly despair' emphasizes the profound impact of living a false and restrictive life. The sibilance in 'silence and in secret bled' further amplifies the lack of expression, illustrating the isolation and emotional suffering endured by women. It is within this context that Coleridge's poem can be interpreted through a Christian lens, drawing parallels between the persona's private turmoil and the crucifixion of Jesus Christ, symbolizing the victimization of women in society.
Religious allusions, such as the mention of 'the thorny aureole' in Coleridge's poem, draw vivid imagery reminiscent of the crown of thorns worn by Jesus, further emphasizing the suffering endured by women in a patriarchal society. The woman's reflection is likened to a messiah figure, suffering injuries inflicted by men in power, symbolized by the thorny crown. This imagery underlines the dominance and authoritative nature of men and the consequences of male expectations, causing suppressed anger and feelings to manifest outwardly, stripping away the woman's loveliness and consuming her being. Lowell's "Patterns" employs the concept of 'war' as a pattern, aligning it with the cyclical nature of societal expectations. The word 'war' introduces dark undertones, connoting death, pain, and bloodiness, providing a stark backdrop to the silent battle for freedom.
Nevertheless, both Coleridge and Lowell express their refusal to accept the oppression of women, signaling their intent to uncover the private face. In "The Other Side of the Mirror," the fourth stanza marks a shift in perspective, moving beyond the portrayal of the woman's injuries to describe her eyes as 'lurid,' conveying an air of violence and power driven by her 'dying… hopes.' This kinetic imagery of 'the leaping fire' intensifies the anger and depth of her emotions. Lowell's "Patterns" similarly reveals the persona's shift to a more dominant role through anaphoras of 'I would' and 'I should,' creating an imperative quality that challenges both patriarchal values and conventional writing styles for women.
The mirror, traditionally a symbol of serene and beautiful femininity, is subverted in Coleridge's "The Other Side of the Mirror." Instead of reflecting the expected image of pure beauty, it presents the image of a 'woman wild.' This unexpected and unconventional use of mirror symbolism heightens the impact of the image of wild desperation, challenging conventional perceptions of women's roles.
Expanding on the exploration of women's representation in patriarchal society, it is crucial to delve deeper into the societal expectations that shape these narratives. The patriarchy's perpetuation of an idealized image of femininity, rooted in physical beauty, not only dehumanizes women but also imposes restrictive standards that hinder their authentic expression. Coleridge's choice of language, such as 'loveliness,' not only underscores the societal emphasis on physical appearance but also critiques the reduction of women to superficial attributes.
Moreover, the symbolism of the 'stiff brocaded gown' in Lowell's "Patterns" adds layers to the discussion of societal expectations. The gown serves as both a physical and symbolic restraint, constraining the persona to an idealized hourglass physique despite the discomfort it causes. The use of the plosive sound 'k' in 'brocaded' creates a palpable sense of unease, mirroring the jerky stops and starts experienced by women within the rigid confines of societal patterns. The poem's structured rhyming scheme further reinforces the inevitability of confinement, emphasizing the societal pressure for women to adhere to prescribed roles.
Delving into the emotional consequences of societal expectations, Coleridge's exploration of the inner turmoil faced by women offers insights into the psychological toll of living a false and restricted life. The persona's 'wild… womanly despair' reflects the profound impact on emotional well-being, painting a poignant picture of the internal struggles women faced. The sibilance in 'silence and in secret bled' adds a layer of isolation, highlighting the lack of avenues for expression. It is within this emotional landscape that the Christian allusion of 'the thorny aureole' takes on added significance, equating the private turmoil of the persona to the excruciating experience of Jesus Christ during crucifixion.
Expanding the analysis to Lowell's "Patterns," the poem's use of war as a metaphor introduces a nuanced layer to the discussion of women's victimization. By conceptualizing war as a pattern, Lowell not only emphasizes the cyclical nature of societal expectations but also underscores the pervasive and enduring impact on women. The word 'war' conjures images of death, pain, and bloodiness, providing a dark undertone that resonates with the silent battle for freedom waged by women. The statement of 'weeping' further reveals the emotional toll, emphasizing women as emotional beings grappling with the consequences of victimization.
The rejection of oppression and the desire to unveil the private face signal a turning point in both poems. Coleridge's "The Other Side of the Mirror" transitions from a focus on the woman's injuries to a description of her eyes as 'lurid,' introducing an element of violence and power. The kinetic imagery of 'the leaping fire' amplifies the intensity of her emotions, signifying a shift in perspective prompted by her 'dying… hopes.' Similarly, Lowell's "Patterns" reveals a more dominant persona through anaphoras of 'I would' and 'I should,' challenging established norms with an imperative tone. The exclamatory tones in both poems, as seen in Lowell's 'Christ! What are patterns for?' and Coleridge's 'O set the crystal surface free!,' emphasize the urgency to break free from societal constraints and allow the true self to emerge.
Considering the societal context, it is crucial to examine the broader implications of the mirror symbolism. Traditionally, the mirror has been employed by male poets to depict a serene, beautiful, and virginal image of femininity. Coleridge, however, subverts this conventional usage in "The Other Side of the Mirror" by reflecting the unexpected image of a 'woman wild.' This unconventional choice challenges established norms and amplifies the impact of the image of wild desperation, questioning the conventional representation of women.
In conclusion, the exploration of women's representation in patriarchal society, as depicted in Coleridge's "The Other Side of the Mirror" and Lowell's "Patterns," reveals a complex tapestry of societal expectations, emotional turmoil, and the desire for liberation. By delving into the intricacies of language, symbolism, and emotional landscapes, the poems not only shed light on the victimization of women but also advocate for a more authentic and nuanced portrayal of women's experiences.
The Struggle for Liberation: Women's Representation in Patriarchal Society. (2016, Aug 02). Retrieved from https://studymoose.com/the-representation-of-women-through-poetry-essay
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