A
Voice Spake Out of the Skies
by
Alfred Tennyson
(Poem, Summary, Paraphrase & Analysis)
The
poem "A Voice Spake Out of the Skies" by Alfred Tennyson is a short
piece from his larger work, Maud, and Other Poems (1855). It appears in the
sequence of Maud, a dramatic monologue. Below is the complete text of the poem
as it appears in the context of Maud, specifically from Part I, Section V,
Stanza 5.
A
Voice Spake Out of the Skies
A
voice spake out of the skies
Unto
a just and upright man:
‘Go
down unto thy son, and tell
That
I shall make his heart to burn
With
love of Me, and he shall turn
And
call the people from their sin;
They
shall be saved, and he shall win
A
crown of glory in My heaven.
Summary
Alfred
Tennyson’s poem “A Voice Spake Out of the Skies” is a brief but resonant piece embedded
within his larger work, Maud, and Other Poems, published in 1855. Specifically,
it appears in Part I, Section V, Stanza 5 of Maud, a complex dramatic monologue
that explores themes of love, loss, madness, and societal critique. The poem
itself is a concise, eight-line stanza that stands out for its spiritual tone
and divine imagery, contrasting with the often tumultuous and emotionally
charged narrative of Maud. This summary provides a detailed overview of the
poem’s content, its role within the larger work, and its narrative
significance, focusing purely on summarizing its elements without delving into
interpretive analysis.
The
poem begins with a celestial proclamation: a voice speaks from the heavens,
addressing a “just and upright man.” This divine voice, implied to be that of
God or a divine entity, delivers a clear and authoritative command. The man is
instructed to go to his son and convey a divine message. The voice’s directive
is specific and purposeful, setting the stage for a transformative spiritual
mission. The use of “spake” and “skies” evokes a biblical, almost Old Testament
tone, suggesting a moment of divine intervention that carries weight and
urgency. The identity of the “just and upright man” is not explicitly defined
within the poem itself, but in the context of Maud, it can be inferred that
this figure is part of the speaker’s imaginative or hallucinatory experience,
as the broader narrative is steeped in psychological complexity.
The
divine voice’s message to the father centers on the son’s spiritual awakening.
The voice declares that it will ignite the son’s heart with love for the divine
(“Me”), suggesting a profound, transformative experience that will align the
son with a higher purpose. This love is not merely emotional but a catalyst for
action, as the son is destined to turn from his current state and take on a
prophetic role. The divine command is clear: the son must call the people away
from their sins. This mission of redemption is central to the poem’s narrative,
positioning the son as a figure chosen to lead others toward salvation. The
language of sin and salvation aligns with Christian theological themes, which
are recurrent in Tennyson’s work, though they are presented here in a way that
feels both universal and deeply personal within the context of Maud.
The
poem further elaborates on the consequences of the son’s mission. The people,
heeding his call, will be saved from their sins, suggesting a collective
redemption brought about through the son’s divinely inspired leadership. This
act of salvation is not only for the people but also carries a personal reward
for the son. The divine voice promises that the son will “win a crown of glory”
in heaven, a metaphorical reward symbolizing eternal recognition and spiritual triumph.
The imagery of a “crown of glory” is rich with biblical resonance, evoking
ideas of divine favor and eternal reward for righteousness. This promise
underscores the poem’s focus on divine purpose and the transformative power of
fulfilling a sacred calling.
Within
the broader context of Maud, this poem serves as a moment of spiritual clarity
amid the speaker’s emotional and psychological turmoil. Maud is a narrative
poem that follows an unnamed protagonist grappling with unrequited love, social
alienation, and mental instability. The speaker’s obsession with Maud, the
daughter of a wealthy family, drives much of the poem’s emotional intensity,
and his descent into madness is a central thread. “A Voice Spake Out of the
Skies” appears in Part I, where the speaker’s mental state is increasingly
erratic, marked by vivid imaginings and heightened emotional states. The divine
vision in this stanza contrasts with the speaker’s otherwise dark and
conflicted narrative, offering a momentary glimpse of transcendence and purpose.
Whether this vision is a genuine divine encounter or a product of the speaker’s
fevered imagination is left ambiguous, but its placement within the poem
suggests a fleeting hope for redemption amid personal and societal chaos.
The
poem’s brevity—eight lines in total—belies its narrative weight. Each line is
carefully crafted to convey the divine message and its implications, moving
from the initial proclamation to the promise of salvation and reward. The
structure is straightforward, with a clear progression from the divine command
to the son’s mission and its outcomes. The language is formal and elevated,
consistent with Tennyson’s style, and it draws on religious imagery to create a
sense of awe and authority. The poem’s tone is solemn and purposeful,
reflecting the gravity of the divine mission it describes.
In
the context of Maud, “A Voice Spake Out of the Skies” stands out as a pivotal
moment that interrupts the speaker’s descent into despair with a vision of
divine purpose. It connects to the broader themes of redemption and spiritual
awakening that run through Tennyson’s work, even as it remains grounded in the
specific emotional and psychological landscape of Maud. The poem’s focus on a
divine call to action and the promise of salvation offers a counterpoint to the
speaker’s personal struggles, highlighting the tension between earthly
suffering and spiritual hope. Ultimately, this short stanza encapsulates a
moment of divine clarity within a larger narrative of human complexity, making
it a significant, if brief, component of Tennyson’s intricate and emotionally
charged poem.
Line-by-Line
Paraphrase
->
A voice called out from the heavens.
A
voice spake out of the skies
->
To a righteous and honest man.
Unto
a just and upright man:
->
“Go to your son and tell him
‘Go
down unto thy son, and tell
->
That I will fill his heart with love for Me,
That
I shall make his heart to burn
->
And he will turn back to Me,
With
love of Me, and he shall turn
->
And urge the people to abandon their sins.
And
call the people from their sin;
->
They will be saved, and he will earn
They
shall be saved, and he shall win
->
A glorious reward in My heaven.”
A
crown of glory in My heaven.
Analysis
Alfred
Tennyson’s “A Voice Spake Out of the Skies,” a brief but potent stanza embedded
in Part I, Section V, Stanza 5 of his dramatic monologue Maud, and Other Poems
(1855), serves as a striking moment of spiritual clarity within a narrative
marked by emotional turmoil and psychological complexity. This eight-line poem,
with its biblical tone and divine imagery, stands out as a pivotal interruption
in the speaker’s descent into madness, offering a glimpse of transcendence and
purpose. Through its language, structure, and thematic resonance, the poem
engages with Tennyson’s broader concerns about divine intervention, human
redemption, and the tension between earthly despair and spiritual hope, while
also reflecting the psychological instability of Maud’s protagonist. This
analysis explores the poem’s linguistic choices, its role within the larger
narrative of Maud, and its thematic significance, revealing how Tennyson crafts
a moment of divine authority amidst human fragility.
The
poem’s opening line, “A voice spake out of the skies,” immediately establishes
a tone of divine authority and grandeur. The archaic verb “spake” and the
celestial imagery of “the skies” evoke a biblical register, reminiscent of Old
Testament moments where God speaks directly to humanity. This choice of
language situates the poem in a tradition of divine revelation, suggesting a
moment of profound spiritual significance. The voice is not merely a sound but
a commanding presence, addressing a “just and upright man.” This figure, while
unnamed, is characterized by moral integrity, aligning with biblical archetypes
like Noah or Abraham, who receive divine missions. Within the context of Maud,
however, the identity of this man is ambiguous, likely a projection of the
speaker’s imagination or a hallucination born of his mental distress. This
ambiguity introduces a layer of psychological complexity, as the divine vision
may reflect the speaker’s longing for purpose rather than an objective reality.
The
divine command unfolds with clarity and purpose across the subsequent lines.
The voice instructs the man to “go down unto thy son” and deliver a message of
spiritual transformation: “I shall make his heart to burn / With love of Me,
and he shall turn.” The imagery of a burning heart suggests an intense, almost
consuming passion for the divine, a transformative force that will redirect the
son’s life. The verb “turn” implies repentance or a return to righteousness, a
common motif in Christian theology. Tennyson’s use of “Me” to represent the
divine voice reinforces the poem’s biblical tone, positioning God as the
speaker and the source of this transformative love. The son’s role as a divinely
chosen figure is further clarified in the command to “call the people from
their sin.” This prophetic mission elevates the son to a savior-like role,
tasked with leading others to salvation. The language here is direct and
authoritative, reflecting the urgency and weight of the divine mandate.
The
poem’s final lines shift focus to the outcomes of the son’s mission: “They
shall be saved, and he shall win / A crown of glory in My heaven.” The promise
of collective salvation for the people underscores the communal impact of the
son’s actions, aligning with Christian themes of redemption and renewal. The
“crown of glory” is a potent symbol, drawn from biblical imagery (such as in 1
Peter 5:4), representing eternal reward and divine favor. This promise of heavenly
recognition contrasts sharply with the earthly struggles depicted in Maud,
where the speaker grapples with unrequited love, social alienation, and mental
instability. The image of the crown thus serves as a beacon of hope, suggesting
that spiritual fulfillment can transcend temporal suffering. However, within
the context of Maud, this vision of glory feels fleeting, as it is juxtaposed
with the speaker’s ongoing descent into madness, raising questions about the
authenticity of the divine encounter.
Structurally,
the poem’s brevity and clarity contrast with the sprawling, fragmented
narrative of Maud. Its eight lines are tightly organized, moving logically from
the divine address to the mission and its rewards. The use of iambic tetrameter
in most lines creates a rhythmic steadiness, reinforcing the poem’s sense of
divine order. The rhyme scheme
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