Monody
On a Lady
Famed for her Caprice
By Robert Burns
How cold is that bosom which folly once fired,
How pale is that cheek where the rouge lately glisten’d!
How silent that tongue which the echoes oft tired,
How dull is that ear which to flattery so listen’d!
If sorrow and anguish their exit await,
From friendship and dearest affection remov’d;
How doubly severer, Maria, thy fate,
Thou diest unwept as thou livedst unlov’d.
Loves, Graces, and Virtues, I call not on you;
So shy, grave, and distant, ye shed not a tear:
But come, all ye offspring of Folly so true,
And flowers let us cull for Maria’s cold bier.
We’ll search through the garden for each silly flower,
We’ll roam through the forest for each idle weed;
But chiefly the nettle, so typical, shower,
For none e’er approach’d her but rued the rash deed.
We’ll sculpture the marble, we’ll measure the lay;
Here Vanity strums on her idiot lyre;
There keen indignation shall dart on her prey,
Which spurning Contempt shall redeem from his ire.
THE EPITAPH.
Here lies, now a prey to insulting neglect,
What once was a butterfly, gay in life’s beam:
Want only of wisdom denied her respect,
Want only of goodness denied her esteem
Poem Analysis:
Robert Burns, the celebrated Scottish poet, composed "Monody on the Death of Maria" as a poignant lament for a woman whose life was marred by vanity, caprice, and folly. This poem, blending grief and scorn, critiques the emptiness of a life lived in pursuit of superficial pleasures. Through its reflective tone and biting commentary, Burns uses "Monody" to explore themes of mortality, the consequences of vanity, and the transient nature of beauty and fame.
Tone and Structure
The poem opens with a sharp contrast between the outward appearance of Maria and her inner emptiness. The first stanza sets the tone of melancholy and bitterness as Burns paints a picture of a woman whose once-vibrant beauty has faded. The use of words like "cold," "pale," and "silent" suggests a lifelessness that starkly contrasts with the "rouge" and the flirtatious energy that defined her earlier life. This opening serves as both a lament for her demise and a critique of the shallow qualities that defined her.
The tone becomes more caustic in the second stanza, where Burns condemns the lack of genuine affection or sorrow at her passing. The line "Thou diest unwept as thou livedst unloved" encapsulates the harsh judgment of her life. Burns contrasts the idea of "friendship" and "affection" with the cold, unfeeling reality of Maria’s existence, suggesting that her vanity led her to live a life without meaningful connections.
Themes of Folly and Vanity
A central theme in the poem is the relationship between folly and vanity, and the consequences these traits bring in life and death. Burns’s mockery of Maria’s superficial existence is evident in the repeated references to "folly," and the way he invokes the "offspring of Folly" to mourn her. He sarcastically calls upon those associated with folly — "Loves, Graces, and Virtues" — but dismisses them as too noble or distant to mourn someone so undeserving.
The idea of a "silly flower" and "idle weed" mirrors Maria’s futile pursuit of beauty and admiration, implying that she was like an ephemeral flower in the garden of life, doomed to wither without leaving a lasting impact. The nettle, described as "so typical," stands out as a symbol of the pain and regret that Maria's actions caused others. The mention of the nettle is particularly apt, as it represents something sharp and irritating, much like the effect Maria's vanity may have had on those around her.
Irony and Sarcasm
Burns’s use of irony is central to the poem's effect. The "Monody" is not a mournful elegy in the traditional sense; rather, it serves as an ironic commentary on the life and death of a woman who sought to garner affection through superficial means. The decision to fill Maria’s funeral with "flowers" and weeds that reflect her frivolous nature suggests that she is being mocked even in death. The contrast between the grand funeral rituals for someone esteemed for their virtues and the petty flowers gathered for Maria reflects the disparity between how she lived and how she is remembered.
The depiction of Maria’s death is laden with sarcasm. Burns envisions "Vanity strums on her idiot lyre," a playful but cutting metaphor that depicts her as a figure lost in delusion, clinging to her outward appearances rather than cultivating inner worth. The "keen indignation" that follows emphasizes the poet’s anger, not just at her life choices, but at the way society often elevates those who embody superficial qualities.
The Epitaph
The final lines of the poem, the epitaph, crystallize Burns’s judgment of Maria’s life. The phrase "What once was a butterfly, gay in life’s beam" symbolizes her fleeting beauty and the transitory nature of fame. Like a butterfly, her charm was brief and fragile, subject to the ravages of time. The line "Want only of wisdom denied her respect, / Want only of goodness denied her esteem" encapsulates the essential flaws of Maria’s character: her lack of wisdom and moral integrity. It suggests that, had she cultivated these virtues, she might have earned genuine admiration and respect — something that beauty alone cannot sustain.
"Monody on the Death of Maria" stands as a powerful commentary on the dangers of vanity, the fleeting nature of superficial beauty, and the emptiness of a life lived in pursuit of fleeting pleasures. Burns’s sharp wit and scornful tone invite the reader to reflect on the value of wisdom, affection, and virtue, contrasting these qualities with the hollow pursuits of fame and beauty. The poem serves as both a lament for Maria and a cautionary tale, urging a deeper understanding of life’s true values, far beyond the surface-level allure of vanity and caprice.