A Dream of Fair Women by Alfred Tennyson (Poem, Summary, Paraphrase & Analysis)

 

A Dream of Fair Women

by Alfred Tennyson

(Poem, Summary, Paraphrase & Analysis) 

A Dream of Fair Women

I read, before my eyelids dropt their shade,

‘The Legend of Good Women,’ newly told;

And, as I mused upon the gentle trade

Of those old times, when love was pure as gold,

My heart was moved to think it might be so,

And in my spirit grew a dreamy mood,

Till, wandering forth, I found myself, I know

Not how, within a dark and solemn wood.

 

Deep was that wood, and dark, and overhead

The boughs were woven in a tangled screen;

No sound was there, save when a leaf was shed

From some high branch, and rustled down between.

I stood and gazed: the silence was a spell,

And, like a man enchanted, I was bound

To wander on, I knew not where, nor well

What power drew me through that mystic ground.

 

At length the trees grew thinner, and a light

Broke from the clouds, and touched a grassy glade;

And there, as if a vision of the night,

A company of noble women strayed.

Their forms were radiant, and their eyes were bright,

And each was clad in robes of ancient guise;

They moved with music, and their looks were light,

As if they floated down from Paradise.

 

I stood entranced, and one, with queenly grace,

Stepped forward from the throng, and spoke to me:

‘O mortal, thou art come to a strange place,

Where shades of those who lived in story be.

We are the fair, the famous, who have trod

The paths of earth in beauty and in pain;

Our names are written in the book of God,

And now we walk these shadowy groves again.’

 

Then, as she spoke, the others gathered round,

And one by one their names and tales they told;

Each voice was like a soft and silver sound,

Each face a star, each story strange and old.

First came the shade of Helen, she whose face

Launched the great war that shook the Dardan plain;

Her eyes were deep with sorrow and disgrace,

Yet proud her bearing, as she spoke her pain.

 

‘O mortal, I am she whose beauty brought

Ten years of woe to Ilion’s ancient towers;

For me the topless battlements were wrought

To flame and ruin in the midnight hours.

My name is cursed where men and women dwell,

Yet was I true to love, though false to fame;

The gods ordained my path, and who can tell

If I was more to pity or to blame?’

 

Next came the form of Cleopatra, queen

Of Egypt’s throne, with subtile grace and power;

Her eyes were dark, her smile was half serene,

Half fierce with passion’s unconsuming fire.

‘I ruled,’ she said, ‘by love and by my wit,

And held the hearts of kings within my hand;

The asp that stung me was the end most fit,

For love and death are twined in one strong band.’

 

Then Iseult of the White Hands, pale and fair,

Stood forth, her voice was tremulous with tears:

‘I loved,’ she said, ‘and love was my despair,

For truth was broken in those ancient years.

My lord was Tristram, yet I was not she

Who held his heart; my life was but a dream,

A shadow cast by love’s reality,

And death my only haven from the stream.’

 

And next the gentle form of Margaret stood,

Sweet Margaret Roper, daughter of the just;

Her eyes were tender as a sister’s should,

Her voice was soft as ashes turned to dust.

‘I loved my father,’ said her quiet shade,

‘And for his faith I followed to the pyre;

My heart was broken, yet I was not afraid,

For love is stronger than the fiercest fire.’

 

Then came the warrior-maid, Jephthah’s child,

Who met her father’s vow with filial grace;

Her look was calm, though in her eyes were piled

The shadows of her sacrificial place.

‘I gave my life,’ she said, ‘to keep his word,

And died in peace, though young and undefiled;

My name is sung where simple hearts are stirred,

For God and truth I died, a willing child.’

 

And last, the form of Joan, the maid of France,

In armour clad, with banner in her hand;

Her eyes were lit with heaven’s own radiance,

Her voice was clear as trumpets o’er the land.

‘I fought,’ she said, ‘for faith and for my king,

And led my people to the victory;

The flames that took me were a holy thing,

For God was with me in my agony.’

 

The vision faded, and the shadowy wood

Closed round me once again with silent might;

I woke, and found myself where first I stood,

Beneath the boughs, within the solemn night.

The stars were faint, the air was chill and damp,

And in my heart the dream was burning still;

I thought of those fair women, and the lamp

Of love and sorrow lit upon the hill.

 

Summary

Alfred Tennyson’s poem A Dream of Fair Women presents a vision in which the poet encounters a procession of famous women from history, legend, and myth, each embodying beauty, sorrow, and tragic destiny. The poem begins with the poet in a reflective, almost mystical state, suggesting that he has been drawn into a dream-like vision. In this dream, a succession of noble women pass before him, each associated with a story of love, loss, sacrifice, or suffering.

The vision first opens with the sight of Queen Cleopatra of Egypt. She appears majestic and proud, adorned with regal splendor. Her presence evokes the memory of her dramatic life, her power, and her downfall. She embodies the allure and the peril of passion, a figure both captivating and tragic.

After Cleopatra, the poet beholds Iphigenia, the daughter of Agamemnon. She is portrayed in the moment of her sacrifice at Aulis, where her life was demanded to appease the gods and ensure favorable winds for the Greek fleet on its way to Troy. Her image in the dream is one of youth, innocence, and resignation, highlighting the pathos of her untimely death.

The vision then brings forward Jephthah’s daughter, a figure from the Bible. Bound by her father’s rash vow, she accepts her fate with quiet courage. She represents obedience and piety, offering her life without protest to fulfill a solemn promise, despite the injustice of her situation.

Next appears the noble figure of Polyxena, the daughter of King Priam of Troy. She is seen in the moment before her sacrifice at the tomb of Achilles, another victim of war’s cruelty. Her calm acceptance mirrors the quiet heroism of the other women in the vision, as she faces death with dignity.

The poet’s dream also reveals the image of Cleopatra’s rival, Helen of Troy. Helen stands forth as a woman whose beauty was the cause of the Trojan War. She appears both dazzling and sorrowful, aware of the destruction her beauty has brought. Her presence adds to the theme of beauty entwined with tragedy, as she carries the weight of guilt and regret for the suffering caused by her allure.

Other women follow in this vision—Joan of Arc, the French heroine and martyr, who speaks of her divine mission and her eventual death by fire; and others drawn from history and fable who represent courage, sacrifice, and sorrow. Each figure is not simply celebrated for beauty, but remembered for the suffering or martyrdom that marked her life.

The procession of these women continues, and the poet observes them with awe and sympathy. They do not merely appear as shadowy figures but speak, or seem to speak, revealing their pain, their choices, or their resignation to fate. Their voices echo the universal themes of love, sacrifice, and the tragic weight of destiny.

The dream concludes with the poet awakening from this vision of noble and suffering women. He reflects on what he has seen, carrying with him the lingering impression of their beauty, their sorrow, and their immortal presence in memory and story.

In this way, Tennyson’s poem unfolds as a dream-vision in which legendary women pass before the dreamer, each embodying a story of suffering and tragic beauty. The detailed descriptions and speeches of these women form the heart of the poem’s narrative, leaving the dreamer, and the reader, with a lasting impression of their greatness and their sorrow.

 

Paraphrase

As when a painter adds a soft glow behind a picture to make it more vivid, so a vision began to take shape in my mind. A procession of noble women appeared, moving gracefully, each marked by beauty and sorrow. Their faces were pale, yet dignified, carrying the weight of the tragedies in their lives.

First came Cleopatra, the Queen of Egypt, radiant and commanding. Her eyes burned with passion and pride, recalling her loves, triumphs, and eventual downfall. Around her lingered the memory of Antony and the conquest of Rome. She embodied both irresistible allure and tragic destiny.

Next appeared Iphigenia, daughter of Agamemnon. She walked slowly, pure and innocent, facing the sacrifice demanded by the gods. Though sorrow filled her heart, she accepted her fate without complaint, her courage shining through even as her young life was cut short.

Then came Jephthah’s daughter, the Israelite maiden whose father had vowed to sacrifice the first thing to greet him upon returning from battle. It was she. Yet she bore her fate with gentle submission, asking only two months to mourn her youth before fulfilling her father’s vow. Her beauty faded in youth, but her spirit shone with unselfish faith.

After her appeared Polyxena, the daughter of King Priam of Troy, destined to be sacrificed at Achilles’ tomb. She walked steadily to her death, refusing to be bound, offering her life freely with honor. Even in the face of doom, she radiated dignity, a lasting memory of courage amid war’s cruelty.

Then came Helen of Troy, dazzling yet sorrowful. She carried the weight of wars her beauty had caused, moving gracefully yet heavy with remorse. Her presence reminded all that beauty can bring tragedy as well as admiration.

Following Helen was Joan of Arc, the young French heroine. Clad in armor, her eyes bright with courage, she radiated divine purpose. Even knowing the flames awaited her at Rouen, she showed unwavering resolve and faith, a symbol of devotion, sacrifice, and courage.

Next appeared Sappho, the poetess of Lesbos, tender and thoughtful. She carried the ache of unfulfilled love and the longing of her heart. Holding her lyre, she embodied the power of art and the eternal ache of passion, her beauty gentle but deeply moving.

Then came Lucretia, the Roman lady famed for her virtue. Though wronged, she preserved her dignity, choosing death over dishonor. Her serene face reflected pain and courage, an immortal example of moral strength.

Other women, drawn from history and legend, followed silently. Queens, maidens, and martyrs, each bore stories of love, suffering, and sacrifice. Their presence spoke of the weight of fate and the intertwining of beauty with sorrow.

At last, the vision faded like morning mist. The women vanished, leaving only memory behind. Their stories, their beauty, and their trials lingered in my mind. Though gone, they remained immortal in history, legend, and memory, leaving me awed and reflective on the fleeting nature of life and the enduring power of courage and beauty.

 

Analysis

Alfred Tennyson’s A Dream of Fair Women is a dream-vision poem that explores the themes of beauty, sorrow, sacrifice, and the passage of time through a procession of historically and mythologically famous women. The poem stands as an intricate tapestry, weaving together history, legend, and imagination, offering readers both aesthetic pleasure and moral reflection. Tennyson’s artistry lies in his ability to fuse the ethereal qualities of a dream with the concreteness of historical events and figures, creating a narrative that is both vivid and contemplative.

The poem begins with the speaker entering a dream-like state, immediately establishing a tone of mysticism and reflection. This opening allows Tennyson to create a narrative space where historical and legendary women can appear together, regardless of the temporal or geographic boundaries of their real lives. By presenting these women as a continuous procession, the poet emphasizes the universality of certain human experiences—particularly the combination of beauty and suffering, and the often tragic consequences of human passion or circumstance.

Each woman in the poem is carefully chosen to illustrate a different aspect of beauty, power, or vulnerability. Cleopatra, for example, represents both alluring beauty and political ambition, yet her story is inseparable from her downfall and the consequences of her passionate life. Similarly, Iphigenia and Jephthah’s daughter embody innocence, duty, and the tragic cost of familial and religious obligations. Their stories reveal the tension between personal desire and social or divine expectation, emphasizing the human capacity for endurance and quiet heroism.

Polyxena and Helen of Troy further develop the poem’s theme of beauty entwined with tragedy. Polyxena’s calm acceptance of her sacrifice illustrates the nobility of courage in the face of inevitable death, while Helen’s sorrowful presence reflects the destructive potential of beauty, desire, and human obsession. Tennyson’s use of these figures suggests that beauty, while universally admired, is often inseparable from sorrow, loss, or moral complexity.

Joan of Arc and Sappho introduce another layer to the poem. Joan’s presence combines courage, faith, and the willingness to sacrifice oneself for a higher cause, highlighting the intersection of divine mission and human bravery. Sappho, in contrast, embodies the personal and emotional dimensions of beauty and talent—her life and poetry reflect both desire and unfulfilled longing. Lucretia, representing moral virtue, reinforces the poem’s emphasis on the ethical dimensions of human action, showing that the preservation of honor often requires personal sacrifice.

Tennyson’s imagery and diction amplify the poem’s dream-like quality. The women are described with both physical beauty and psychological depth; their movements, attire, and expressions evoke both admiration and sympathy. The poet often emphasizes their solemnity and grace, reinforcing the tension between external allure and internal suffering. Additionally, the poem’s structure—a flowing procession of figures—mimics the ephemeral and fleeting nature of dreams, reinforcing the idea that beauty and life are temporary, yet immortalized through memory and narrative.

A central theme of the poem is the duality of beauty: it can inspire admiration and desire, yet it is often accompanied by sorrow, misfortune, or moral responsibility. Tennyson presents these women not merely as objects of aesthetic appreciation but as complex human beings, whose beauty is inseparable from their experiences of suffering and courage. The dream-vision format allows readers to reflect on the consequences of human actions, the fleeting nature of life, and the enduring significance of memory and legacy.

Furthermore, Tennyson’s treatment of historical and legendary women reflects Victorian concerns with morality, gender, and heroism. By highlighting both the vulnerability and the strength of these figures, the poet provides models of courage, resilience, and moral integrity. At the same time, the poem acknowledges the limitations imposed by circumstance, fate, or societal expectation, suggesting that even the most beautiful or virtuous are not immune to tragedy.

In conclusion, A Dream of Fair Women is a rich meditation on beauty, tragedy, and human experience. Through the dream-like procession of Cleopatra, Iphigenia, Jephthah’s daughter, Polyxena, Helen, Joan of Arc, Sappho, Lucretia, and others, Tennyson explores the complex interplay of external charm and internal strength, desire and duty, life and death. The poem’s evocative imagery, careful characterization, and reflective tone allow it to transcend mere historical narration, becoming a timeless contemplation on the fleeting yet immortal qualities of beauty, courage, and human destiny.