Analysis of Scenes In London I - Piccadilly

Letitia Elizabeth Landon 1802 (Chelsea) – 1838 (Cape Coast)



The sun is on the crowded street,
    It kindles those old towers;
Where England’s noblest memories meet,
    Of old historic hours.

Vast, shadowy, dark, and indistinct,
    Tradition’s giant fane,
Whereto a thousand years are linked,
    In one electric chain.

So stands it when the morning light
    First steals upon the skies;
And shadow’d by the fallen night,
    The sleeping city lies.

It stands with darkness round it cast,
    Touched by the first cold shine;
Vast, vague, and mighty as the past,
    Of which it is the shrine.

’Tis lovely when the moonlight falls
    Around the sculptured stone
Giving a softness to the walls,
    Like love that mourns the gone.

Then comes the gentlest influence
    The human heart can know,
The mourning over those gone hence
    To the still dust below.

The smoke, the noise, the dust of day,
    Have vanished from the scene;
The pale lamps gleam with spirit ray
    O'er the park's sweeping green.

Sad shining on her lonely path,
    The moon’s calm smile above,
Seems as it lulled life’s toil and wrath
    With universal love.

Past that still hour, and its pale moon,
    The city is alive;
It is the busy hour of noon,
    When man must seek and strive.

The pressure of our actual life
    Is on the waking brow;
Labour and care, endurance, strife,
    These are around him now.

How wonderful the common street,
    Its tumult and its throng,
The hurrying of the thousand feet
    That bear life's cares along.

How strongly is the present felt,
    With such a scene beside;
All sounds in one vast murmur melt
    The thunder of the tide.

All hurry on—none pause to look
    Upon another’s face:
The present is an open book
    None read, yet all must trace.

The poor man hurries on his race,
    His daily bread to find;
The rich man has yet wearier chase,
    For pleasure’s hard to bind.

All hurry, though it is to pass
    For which they live so fast—
What doth the present but amass,
    The wealth that makes the past.

The past is round us—those old spires
    That glimmer o’er our head;
Not from the present is their fires,
    Their light is from the dead.

But for the past, the present’s powers
    Were waste of toil and mind;
But for those long and glorious hours
    Which leave themselves behind.


Scheme ABAB CDCD EFEF GHGH IXIX XJXJ KLKL MNMN OPOP QRQR ASAS TUTU VWVW WXWX YGYG XZBZ BXBX
Poetic Form Quatrain  (94%)
Metre 01110101 111110 110101001 1101010 110010001 010101 1010111 010101 11110101 110101 0110101 010101 11110111 110111 11010101 111101 1101011 010101 10010101 111101 110100100 010111 01010111 101101 01010111 110101 01111101 1001101 11010101 011101 11111101 10101 111100111 010101 110101011 111101 0101101001 110101 1011001 110111 11000101 110011 010010101 111101 11010101 110101 11011101 010101 11011111 0111 01011101 111111 01110111 110111 0111111 110111 11011111 111111 11010101 011101 01111111 1101101 110101110 111101 110101010 011101 1111010010 110101
Closest metre Iambic tetrameter
Characters 2,223
Words 386
Sentences 17
Stanzas 17
Stanza Lengths 4, 4, 4, 4, 4, 4, 4, 4, 4, 4, 4, 4, 4, 4, 4, 4, 4
Lines Amount 68
Letters per line (avg) 24
Words per line (avg) 6
Letters per stanza (avg) 98
Words per stanza (avg) 23
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Submitted on May 13, 2011

Modified by Madeleine Quinn on February 16, 2020

1:56 min read
182

Letitia Elizabeth Landon

Letitia Elizabeth Landon was an English poet. Born 14th August 1802 at 25 Hans Place, Chelsea, she lived through the most productive period of her life nearby, at No.22. A precocious child with a natural gift for poetry, she was driven by the financial needs of her family to become a professional writer and thus a target for malicious gossip (although her three children by William Jerdan were successfully hidden from the public). In 1838, she married George Maclean, governor of Cape Coast Castle on the Gold Coast, whence she travelled, only to die a few months later (15th October) of a fatal heart condition. Behind her post-Romantic style of sentimentality lie preoccupations with art, decay and loss that give her poetry its characteristic intensity and in this vein she attempted to reinterpret some of the great male texts from a woman’s perspective. Her originality rapidly led to her being one of the most read authors of her day and her influence, commencing with Tennyson in England and Poe in America, was long-lasting. However, Victorian attitudes led to her poetry being misrepresented and she became excluded from the canon of English literature, where she belongs. more…

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