Professional Documents
Culture Documents
Mrs. K. Loll
AP English IV
11 February 2008
This poem presents three main internal conflicts concerning the speaker's perception of
nature and the reality of the setting. Firstly, the speaker illustrates the beauty and sonority of the
lass' song despite the "melancholy strain" (6) she is undergoing simultaneously. In addition, the
speaker's wish to understand the girl's song is widely in discord with the fact that the song may
lose its beauty if he were to comprehend it. This internal conflict is detailed in stanza three when
the speaker presents a variety of suppositions concerning the subject of the music. Lastly, he
presents his experience as though he were presently seduced in the "plaintive numbers" (18)
although it has been years since he had heard the songs. These emotional conflicts strongly bind
the poem together and gives it the coherence that makes it memorable.
"The Solitary Reaper" consists mainly of 4-foot lines. However, the fourth line of each
stanza is written in iambic trimeter. The work generally follows a rigid meter. However, it
deviates from the structure in at least one line of each stanza. The poet uses an ababccdd rhyme
scheme in each stanza but does not rhyme the first and third lines of the first and last stanzas.
Both the subject and the meter takes the form of a ballad. By beginning the piece in a ballad
structure, the poet suggests the piece tells a story of the speaker's encounter of the girl. The fact
that ballads can usually are sung brings irony into the work. This poem illustrates the beautiful
music the lass makes through her songs; by making the poem itself into an elegant song, the
The ballad commences with a blatant praising of the "solitary Highland Lass" (2).
Through the use of this concise description, the poet presents the readers with his image of the
protagonist in the poem. The poet chooses to capitalize the words "Highland" and "Lass" in this
phrase. By doing so, the poet allows the speaker's reverence toward the young lady to shine
through. Moreover, instead of using a condescending term such as "girl, to describe the solitary
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reaper, the speaker chooses "lass". This word connotes a girl who is young, yet mature and
experienced. It is apparent that the speaker is aware of the hardships the girl is going through as
she sings these songs. However, the speaker chooses to treat her like a saint. He instructs people
who encounter her to "Stop here, or gently pass" (4), as if she were an exhibit in a museum. The
speaker cleverly places these apotheosizing phrases between lines which describe her work:
"Reaping and singing by herself" (3) and "Alone she cuts and binds the grain" (5). In doing so,
the poet vividly depicts the conflict between the lass' superhuman seductive facade and the
In the second stanza, the speaker shifts from detailing his encounter with the girl to an
extended analogy between the solitary reaper's song and a bird's song. The speaker draws on the
experiences of readers to connect the "welcome notes" of a nightingale and "thrilling [sounds]"
of a cuckoo to the girl's voice. In doing so, the speaker vividly illustrates the perceptible beauty
of the song. However, just as he cannot understand the subject and meaning of a bird's song, he
does not comprehend the ideas present in the lyrics of the lass' song. Nevertheless, music is a
universal beauty that is comprehended by all. Despite the fact that he cannot decipher the
meaning in the work, the speaker is still able to enjoy the harmonious sounds that come from the
girl's lips. The figurative language the speaker uses in this section of the ballad allows him to
demonstrate his internal conflict while experiencing the girl's song. At the end of the stanza, the
speaker references the "Hebrides" (16), which is a string of islands off the coast of Scotland.
This link ties this stanza back to the beginning of the poem. The Hebrides, being so far as almost
unattainable, can be viewed as majestic and mysterious. These two adjectives describe the
solitary reaper accurately. By using this image as a connection back to the subject of the ballad,
the speaker provides for a smooth transition to the mood of the third paragraph.
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The third stanza serves to portray the speaker's internal struggles as he listens to the
solitary reaper's song. Many of the lines in this section consist of rhetorical questions: "Will no
one tell me what she sings?" (17); "Or is it some more humble lay, / Familiar matter of to-day?"
(21-22); "Some natural sorrow, loss, or pain, / That has been, and may be again?" (23-24). These
contribute to the structure of this unique stanza and draw the reader's attention to the central
conflicts of the poem. Despite the fact that learning the meaning of the lass' song may shatter the
fragile guise of her music, the speaker appears to wish to face reality and learn "what she sings"
(17). In addition, his references to time lapse, "matter of to-day" (22) and "has been, and may be
again" (24), foreshadow what the speaker will reveal in the final stanza. The poet refers to the
lass' songs as "plaintive numbers" (18). Literally, this phrase is synonymous to "melancholy
strain" (6). However, the diction he uses in this line changes the connotation of the phrase.
Although the denotation of "plaintive" suggests sadness and mourning, the root of the word
allows readers to conjure other images. The solitary reaper is seen by many as a "plain" figure.
She is, after all, a simplistic country girl who is tending to her crops. By allowing this secondary
meaning to slip into the poem, the poet allows his ballad to take on different interpretations. This
use of diction further contributes to the conflicts in this poem. The song the girl sings may be
very moving for the observer, but for her, it may very well be just another way to pass time
during her monotonous work. The speaker also deviates from the rigid meter in the final line of
this stanza (24). Although he uses the same number of syllables, the poet changes the metric
pattern to one that is roughly anapestic, suggesting the effect of time on every aspect of life.
The last stanza of the ballad unites the different aspects of emotional conflict the speaker
presents in the poem. The poet repeats the description of the scene in order to allow the ballad to
come to a full circle as it closes. He concedes to the fact that he will never understand the
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subject of the lass' song. However, he continues to listen to the song and imagine the beauty it
suggests. The last two lines of the poem are essential to fully grasp the meaning of the ballad as
a whole: "The music in my heart I bore / Long after it was heard no more" (33-34). In the
second to last line, the speaker uses a metonymy by utilizing his "heart" to represent his entire
self and inner soul. The speaker's claim is a lyrical way of stating that the lass' song touched his
soul. Here, it is apparent that the speaker has resolved a primary conflict apparent in the poem.
He realizes that the lass is poor, and that the song may very well be the only thing of beauty in
her existence. However, he relishes his experience listening to her, as the music really touched
his soul. In addition, the last lines allow readers to understand the final conflict the poem
presents. Until this point in the ballad, it is not apparent that the song was written "long after"
the speaker had listened to the song. By gaining this piece of information, readers can now
understand that the poet has long returned to reality and has removed himself from the magic of
the song. In this way, the poet accentuates the internal conflict between the imaginary and
reality.