AQA English Literature A-level

Poetry: Love Through the Ages

Anthology (Pre-1900)
Lord Byron: ‘She Walks in Beauty’

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 SHE WALKS IN BEAUTY
Lord Byron

Brief Summary

A speaker describes an unnamed woman’s beauty as

she passes by, conveying his wonder at her ethereal,
innocent aura and appearance. The speaker tries to
capture the beauty of the woman, and her enchanting
effects on others.

Synopsis

● An unnamed speaker writes in awe of a mystery

woman, after being left so struck by her beauty as
she walks by. The speaker describes the woman in
illustrious detail, as though they are describing a
work of art, and goes on to make assumptions on
her character based on her outward appearance.
● The speaker strives to convey the woman’s
breath-taking beauty and its captivating effects on
him in this love poem, which is not overtly sexual
but expresses a strong longing.

Context

Lord Byron (1788 - 1824)

Lord Byron, also known as George Gordon Byron, was an English poet and politician,
best known for his role as a leading figure of the Romantic literary movement. His work
included epic poems such as Don Juan and poetry collections such as Hebrew Melodies,
both of which proved popular and influential during his time, the latter of which included
'She Walks in Beauty'. Born to a British army officer and his heiress wife, Byron was
educated at Harrow and Cambridge, and spent part of his childhood in Scotland. Byron’s
life was considered adventurous and unconventional compared to his contemporaries,
through which he achieved celebrity status. He was also a key subject of discussion in
regards to his personal life, most notably a well known alleged affair with his half sister. He
lived and worked across Europe, in particular Italy, and later fought in Greek War of
Independence. Many of his works are inspired by his travels, and he eventually died while
fighting with the Greeks against the Ottoman Empire. He has remained hugely
influential, with several literary tropes and phrases, such as the Byronic hero finding
their roots in his work, serving as an example of his lasting influence on English
literature.

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She Walks in Beauty

'She Walks in Beauty' describes a speaker’s feelings of infatuation, and love-struck awe
at the powerful beauty of a woman. The poem does not depict a romantic relationship, or a
relationship at all, but rather comprises an illustrious display of obsessive love, and
wonder. This perspective is different to most poems in the anthology as the majority of
poems convey a relationship, between lovers or family. In this poem, the speaker does not
seem to know the woman at all, and this lack of any real, palpable connection sets 'She
Walks in Beauty' apart from the other poems in the anthology. 'She Walks in Beauty', first
published in 1815, is said to have been inspired by Byron seeing a distant relative, Lady
Wilmot, at a party sometime in 1814.

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 She Walks in Beauty
Theme of harmony, her beauty ‘'She Walks in Beauty'’, an
captures the harmony of the finest light unusual phrasal choice, suggests
and deepest darkness, gentle and the woman’s relationship to
delicate juxtaposition. beauty is total, She is more than
'She Walks in Beauty', like the night just a beautiful woman, beauty
Further juxtaposition - dark and bright , surrounds her.
duality clouds and skies, light and dark, Of cloudless climes and starry skies;
day and night. Woman’s complex Further emphasised by caesura,
beauty powerful and effortlessly And all that’s best of dark and bright which places special emphasis on
captures best of darkness and light. the word ‘beauty’, encourages
Meet in her aspect and her eyes; readers to pause and consider
Line 6 alludes to a kind of heavenly woman’s beauty.
beauty - the woman’s beauty exceeds
Thus mellowed to that tender light
even that of sky. Enjambment - maintains the
sense of speaker’s awe, who is
Line 6 - ‘gaudy day denies’, woman’s Which heaven to gaudy day denies. breathless at woman’s beauty.
beauty so powerful and elegant, even Endless lines reflect ‘cloudless
daylight is gaudy, vulgar and inferior. climes’ & vast skies. Lack of
punctuation mirrors woman’s
‘Every raven tress’ - more references endless beauty.
to nature, speaker looks to nature to
describe her beauty. One shade the more, one ray the less, Poem begins with pastoral
comparison of woman, to the
Alliteration - line 11 ‘serenely sweet’. ‘night’, to simile ‘cloudless climes’,
Had half impaired the nameless grace
to the skies. Conveys a pure
Lines 11 & 12, speaker begins to natural image of woman’s beauty.
describe woman’s character, based on Which waves in every raven tress, Also immediately creates an
her appearance. A shift in the atmosphere of admiration and
speaker’s praise. Or softly lightens o’er her face; awe.
Alliteration - soft /s/ sounds create
Speaker does not know the woman, Where thoughts serenely sweet express, gentle, delicate feel, conjures
yet assumes her thoughts & character images of tender, light touch.
to be sweet and pure. How pure, how dear their dwelling-place.
Line 4 - ‘in her aspect and in her
The notion that appearance = eyes’ something intangible and
character introduced in 2nd & 3rd tangible; poetic technique.
stanzas. Her sweet, pure, innocent
beauty reflects pure character, or so Line 7 - a perfect, unbelievable,
speaker believes, And on that cheek, and o’er that brow, intricate beauty - ‘one shade’ off
would have greatly diminished
Speaker believes he can read the So soft, so calm, yet eloquent, woman’s beauty & power.
woman’s pure and precious character Conveys speaker’s awe at her
by the impossible beauty of her The smiles that win, the tints that glow, impossible beauty & elegance of
appearance. her being.
But tell of days in goodness spent,
He speaker believes reveal that the ‘nameless grace’ - almost royal
woman spends her days doing good, is like, divine beauty, smoothness
A mind at peace with all below, and elegance of her movement,
of pure and peaceful heart and mind.
reflects a divinely given beauty.
A heart whose love is innocent!
listing beauty - her aspect, her eyes,
on that cheek and brow, the smiles that Speaker expresses difficulty in
win, the tints that glow listing further describing her beauty, which
physical attributes, manifests in her eyes, her hair,
her face.
Repetition - ‘how pure, how dear’ ‘so
soft so calm’. Emphasis woman’s
beauty and her bewitching effects on
the speaker.

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Perspective

'She Walks in Beauty' is a lyric poem, a short poem intended to be set to music, with the
contents generally conveying thoughts and feelings. It is written from the perspective of
an unnamed man, assumed to be Byron, watching a woman walking by. The speaker
does not know the woman and has no explicit relation to her. The poem explores the
notion of physical beauty being intrinsically linked to, and even dependent on, an
individual’s character and inner nature. The speaker does not mention themselves or
reveal details about their identity, the focus of the poem is entirely on the woman and her
impossible beauty. Furthermore, the poem does not indicate the speaker’s interest in
courting the woman, the poem is simply an ode to her beauty. As such, although 'She
Walks in Beauty' may be considered a love poem, there is no suggestion of romance
between the speaker, the man, and his subject, the woman walking by; although there is
deep affection portrayed. As such, the speaker’s admiration, idolisation and awe of the
woman and her assumed purity and innocence forms the essence of 'She Walks in
Beauty'.

Themes

The main, recurring themes in 'She Walks in Beauty' are love, beauty and harmony. The
contextual background information that posits this poem as written by Byron after being
struck by a beautiful woman aids literary analysis, however 'She Walks in Beauty' can be
considered as a wider commentary on beauty and purity, a study of beauty in the literal
and abstract senses. As such, 'She Walks in Beauty' is as much a song of praise on a
specific woman’s beauty as it is a general consideration of the notions of beauty,
innocence, and unattainable love. This is further supported by the fact Byron does not
name the woman at the centre of the poem, referring to her as ‘she’ from the start, adding
weight to his use of the personal pronoun in this way.

'She Walks in Beauty' begins with a detailed description of the woman’s physical
appearance and outward beauty, and then transitions into an assessment of her
character and countenance. The speaker’s extended, comprehensive praise of the
woman’s physical beauty, her face, her eyes, her hair, recalls the blazon poems of the
Elizabethan age, a poetry genre which set out to glorify and describe a lover’s
appearance. The description of the woman’s character that follows is essentially a series
of assumptions, through which Byron explores the idea of inner and outward beauty
being connected.

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Love

'She Walks in Beauty' is a quintessential Romantic poem, where a male poet endlessly
praises a woman’s beauty, and therefore love is a prominent theme throughout. Byron
explores an unconventional view of love through the speaker praising and glorifying the
woman, without any indication of his own desire. There is a sense of detachment in 'She
Walks in Beauty'; the speaker watches the woman pass by and is deeply moved and
struck by her beauty, yet gives no indication of a desire to court or be with her in any way.
This could be interpreted as a display of unattainable love; it could be argued that the
speaker knows the woman’s impossible, otherworldly beauty and purity of character
makes her ultimately unattainable to him. The speaker evidently is very fond of the
woman, yet does not communicate any aspiration or intention of approaching her. This
distinct approach serves an alternative display of love, one without entitlement or
expectation of romance or courtship, but rather a removed exaltation of the woman and
her beauty. Furthermore, this places the woman at the centre of the poem, and is further
reinforced by the lack of information on the speaker, his identity or in fact anything about
him.

Another interpretation could be that though 'She Walks in Beauty' is a poem of the
Romantic movement, and a love poem, it does not necessarily aim to convey a romantic
love between the speaker and the woman. Perhaps, the speaker is ultimately
communicating his deep love of beauty, purity, innocence and all that the woman
represents to him. In this sense, the speaker does not wish to personally pursue a
romantic relationship with her, and may not have had this intention at all. Such a reading
makes the poem a focus on the love of the aesthetic, the beauty, a poem of praise,
beauty, purity, serenity, an endorsement of her aesthetic qualities, the speaker
expressing his approval. In this way, the poem is more conventional as the woman is a
typical conventional beauty, with her fair skin and dark hair. This would be in line with the
principles and tenets of the Romantic movement, which Byron was a major figure of.

Beauty & harmony

'She Walks in Beauty' has a strong, central focus on female beauty, outer and inner, as
well as harmony. The spotlight of the poem falls on the mystery woman and her perfect
beauty, on which the speaker remains fixated and enraptured. Byron’s language and
use of poetic devices capture a sense of the speaker’s awe, which at first is at her
outward appearance, and then moves to her inner spiritual core, where the speaker
believes only pure thoughts and emotions can be found.

The initial descriptions speak of her physical beauty, explored through a series of
harmonious contrasts. Her beauty is partly a result of these delicately conveyed
contrasts, such as the woman’s dark hair, her ‘raven’ tresses, in juxtaposition to her
presumably fair and bright face, skin and eyes. Her beauty and supposed purity is almost
biblical in nature, and the speaker also draws attention to the way the light falls on her
face, a ‘tender light’ (line 5) which ‘softly lightens’ (line 10) her countenance, conveying
a harmonious convergence between light and dark. This depiction of the woman’s

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beauty as divine invokes religious imagery which is reflected in the poem’s structure,
which is much like a hymn. This further reinforces and alludes to the woman’s almost
virginal innocence. Furthermore, this interpretation is also supported by the speaker
referring to the woman as a ‘nameless grace’ in line 8, perhaps a reference to the three
goddesses of beauty within Greek mythology.

The speaker also compares the woman to a lovely night with a clear starry sky,
focusing on one point on her eyes, the windows of the soul, the woman’s soul which is
pure and innocent. This conjures an image of a peaceful woman with a peaceful aura.
The delicate pastoral comparisons to the skies, the dark and bright, the night and the
clouds communicates an image of an exceptionally beautiful woman who in turn
beautifies all that surrounds her. In this way, Byron explores the notion of beauty, the
perfect harmony between the woman and her surroundings. Moreover, the comparisons
to nature, where the woman is compared to endless skies and ‘cloudless climes’ (line 2)
in the night, arguably heighten the sense of mystery around the woman’s unmatched
physical beauty. Byron uses alliteration throughout, further portraying the woman’s
exquisite beauty and lending the poem a decorative feel. There is also the antithesis
between light and dark, a contrast that is successfully balanced in the woman’s beauty.

Furthermore, in continuing the prominent theme of harmony, Byron uses assonance in

four lines in the second stanza, ‘shade’, ‘ray’, ‘nameless grace’, ‘waves’ and ‘raven’.
These poetic devices add to our understanding of the woman’s complex beauty, and
emphasises the perfect harmony between all aspects and features of her appearance
and her powerful beauty. The unnamed woman seems to effortlessly reconcile light and
dark together, resolving these opposing contrasts. Her shining beauty in the dark of the
night, in turn, further accentuates her overall allure. There is emphasis on the word ‘meet’
in line 4, which also depicts the opposing forces supporting each other, working in
tandem to intensify her beauty, much like the relationship between her inner and outer
beauty. This light and dark exist together in the woman, two opposite qualities elegantly
balanced. In establishing this binary opposition between light and dark, Byron conveys
the woman’s perfection as resulting in part from the harmonious union of these opposites.
It could be argued that the woman’s beauty softens these contrasts, the extremes of the
light and dark, an example of which could be the bright stars in the dark, as she passes by.

Moreover, the woman is portrayed as a perfect, prime example of beauty, a complete

manifestation of beauty. The speaker even describes the woman’s beauty as eloquent,
communicating a beauty so powerful that it even speaks in a pleasing and charming
manner. The woman is a catastrophic, immense beauty, a deep, overwhelming,
complex force, as indicated by the speaker’s awe at her. Byron distinctly writes that she
‘walks in beauty’, the peculiar phrasing suggesting she is a perfect beauty, and that her
beauty makes her surroundings more beautiful, perhaps like some powerful forcefield.
Byron also takes time to describe the preciseness of the woman’s beauty in line 7 ‘one
shade more, one shade the less’, which further builds on the sense of the woman’s
beauty as impossibly perfect and intense. It is also important that the speaker and the

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woman do not meet at any point, she is completely oblivious of the fact she is being
observed, and the speaker expresses a desire to interact.

Additionally, 'She Walks in Beauty' explores the notion of physical beauty depending on
inner goodness and righteousness of character, as well as the harmony achieved in
this Romantic ideal of aesthetic perfection. After its discussion of the woman’s physical
beauty, the poem then asserts this outer beauty as representative of her inner
goodness and virtue. The speaker believes they can feel goodness exuding from the
woman. Her beauty is in fact built on her strong pure character, a moral foundation which
the speaker detects. Perhaps the speaker sees in the woman a level of purity which they
fail to recognize in their own soul or character. This notion of outer beauty tightly
linked to inner beauty is especially apparent in the second and final stanzas, where the
speaker moves from the ‘grace [which] waves in every raven tress’ to he face ‘where
thoughts serenely sweet express’, peacefully reflecting her inner thoughts, which the
speaker assumes with confidence to be pure.

This provokes thought on the woman’s beauty, and presents the poem as more than just a
superficial display of a man gawking at an unnamed woman. Additionally, this makes
readers consider if the woman’s beauty is because she is pure and good character or is
her character so because of her overwhelming outer beauty. This also harks to practices
and beliefs of physiognomy, with Byron’s portrayal resurrecting this form of assessment
of people, and further exploring this notion of beauty. Byron engages with conventional
views of beauty, which usually refer to outer appearance, by consistently talking about
inner beauty throughout 'She Walks in Beauty'. As such, the woman’s beauty is not purely
physical, as some readers may initially assume, instead, it is almost a shield of beauty,
made more powerful by the fact the woman herself is oblivious to her own beauty.
Perhaps this lack of awareness means the woman is not corrupted by her own beauty,
ensuring her heart remains pure, as exemplified in the final lines, ‘a mind at peace with
all below, a heart whose love is innocent.’ The thoughts in the woman’s mind behind
that beautiful face must be of how pure and dear she is, ‘how pure and how dear their
dwelling-place’. The culmination of the final stanza indicates that it is her ‘goodness’
proceeding from the innocence of her heart which affords her this perfection.’

Therefore, in the speaker’s view, the woman has only pure thoughts, and she is
untainted by any external influence. There is this assumption that the woman’s character
is as perfect as her appearance, that she spends her time doing only good, ‘tell of days in
goodness spent’ (line 15), displaying upstanding righteous behaviour. This also reflects
the context of the poem in that many Romantic poets strove to idealise beauty by
engaging with emotions, and in 'She Walks in Beauty', this is conveyed through the
speaker's feelings towards the woman. The woman’s powerful outer beauty is dependent
on her inner beauty, the physiognomic view of goodness and purity of character and
thought directly causing beauty in outer appearance, resulting in an aesthetically
pleasing countenance, aspects and features. This outer beauty could also be

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interpreted as a reflection of inner beauty, with both kinds of beauty in perfect
harmony.

Ultimately, this develops the underlying themes in 'She Walks in Beauty', transforming
the poem from an ode of praise and wonder to a wider commentary on beauty and what it
means to be beautiful.

Structure

'She Walks in Beauty' is written in iambic tetrameter, where there are four feet per line
and each line consists of one unstressed syllable followed by a stressed syllable. This
creates the kind of regular beat necessary for a lyric poem which is intended to be set to
music. Furthermore, there are three stanza, each six lines long, creating a poetic form
that is generally adopted for hymns. This structural note reflects the religious imagery
within the poem, as the simple structure reflects the woman’s innocent, ethereal beauty.
Here, Byron utilises the poetic structure to effectively mirror the poem’s content as a
love poem, albeit absent of references to a passionate or sexual love.

The three stanzas are equal in length, each seemingly dedicated to a specific aspect of
the woman’s beauty and the speaker’s thoughts and feelings. The combination of the
strict structure and the categorisation of the speaker’s words creates a feeling of the
speaker endeavouring to fully capture the beauty of the mystery woman as well as
meticulously taking the time to carefully convey his deep and complex thoughts and
feelings towards her. As such, the poem reads much in a measured, deliberate way with
the speaker taking a great deal of care with how they articulate themselves.

However, there are exceptions to the poem’s regular meter and structure, in particular
an example of metrical inversion in line 4, where the iambic foot is trochaic. ‘Meet in /
her / as / pect and / her eyes’, here the stressed syllable is first, followed by an
unstressed syllable, in contrast to the rest of the poem. A possible explanation for this
could be that Byron intended to highlight the harmonious, opposing forces that ‘meet’
and intersect in the woman’s eyes, and by extension, in her beauty.

Rhyme scheme

The rhyme scheme of 'She Walks in Beauty' is ABABAB. The rhymes in the poem apart
from a few instances where half or near rhymes are utilised, e.g. in lines 13 and 15,
‘brow’ and ‘glow’. The regular rhyme scheme further reinforces the themes of harmony
and balance prominent in the poem, and lends the poem a delicate, musical feel.

Furthermore, the structure of the poem also reflects its content and themes through a mix
of caesura and enjambment. A number of lines are paired together through
enjambment, and then later end-stopped as seen in line 2 of the first stanza. The
organisation of pairs of lines in this way, not only reflects the theme of harmony and

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perfection, but also conveys the juxtaposition between the binary forces mentioned in
the poem. It could be interpreted as the speaker’s struggle or hesitation also indicates
the speaker as they try to describe their feelings and the woman’s beauty.

Language

Similes

The speaker uses similes to illustrate the woman’s beauty, as in the first stanza where
he draws comparisons between her beauty and the night sky ‘like the night of cloudless
climes and starry skies’.

Alliteration

The alliteration in 'She Walks in Beauty' adds a feel of musicality, aptly reflecting the
lyrical nature of the poem. Byron uses alliteration frequently throughout the poem, e.g. in
lines 2 ‘cloudless climes’ ‘starry skies’ and line 5 ‘thus...that’ and line 6 ‘day denies’,
line 8 ‘had half’ line 9 ‘which waves’, line 11 ‘serenely sweet’, line 12
‘dear...dwelling-place’, line 1 ‘so soft’, line 15 ‘the, that’.

Sibilance

The sibilance in this poem primarily involves the repetition of ‘s’ sounds, as seen in
‘thoughts serenely sweet express’. These sounds combine to give texture and add to
the sense of harmony in the poem.

Juxtaposition

Byron combines opposites in his description of the woman. The ‘dark’ and ‘light’
mentioned in line 2, and the ‘shade’ and ‘rays’ in line 7 show the intricate balance in the
woman’s beauty. By presenting these forces side by side, Byron communicates a powerful
beauty that reconciles both light and dark.

Assonance

The assonance in the poem adds to its musicality, with several words sharing similar
vowels to adjacent words, e.g. the ‘climes’ and ‘skies’, in line 2, ‘nameless grace’, in
line 8 ‘waves/raven’ in line 9 ‘serenely sweet’ in line 11, ‘wins/ tints’ in line 15.

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Comparisons

'She Walks in Beauty' The Flea

“nameless grace’’ “selfe murder’

‘‘which heaven to gaudy day ‘sacrilege’

denies’”

“how pure, how dear their ‘blood of imagery’

dwelling-place’’

Both poems have religious imagery; in 'She Walks in Beauty', it is used to symbolise the
woman’s heavenly beauty and in The Flea religious imagery conveys a sacred union
achieved through physical intimacy.

'She Walks in Beauty' & 'Whoso List to Hunt'

Similarities ● In both poems, the speakers are captivated by a woman; in 'She Walks in
Beauty' the speaker falls in love at first sight with the woman walking by; in
'Whoso List to Hunt' there is a similar display of the speaker spellbound by
a woman.
● Both poems communicate a sense of impossibility; the woman in 'She
Walks in Beauty' is impossibly beautiful, and her beauty is perfect in every
last ‘shade’ and ‘ray’. In 'Whoso List to Hunt', the speaker uses a metaphor
to portray his futile attempts at pursuing the ‘hynde’, ‘sithens in a net I seek
to hold the wind’ a metaphor for the impossible and his unattainable love.

Differences ● The speakers’ positions vary; in 'She Walks in Beauty', they make no
attempt to court the woman walking by, content in admiring her beauty from
afar. In 'Whoso List to Hunt', the speaker’s frustrated desire for the woman
drives his acts of desperation, his ‘vain travail’.
● In 'She Walks in Beauty', the focus of the poem is on the unnamed woman
and her beauty, there is no information on the speaker and we can assume
they have no real desire to be with her. However, in 'Whoso List to Hunt',
the poem’s focus is on the speaker’s feelings and how the woman and their
pursuit of her has made them feel, leaving them ‘sore’, ‘wearied’ and
‘fainting’.

'She Walks in Beauty' & To His Coy Mistress

Similarities ● Both poems provide descriptions of the beauty of their lover or object of
affection’; in ‘To His Coy Mistress’, the speaker mentions ‘youthful hue’ that
sits ‘like morning dew’ on his mistress and warns her ‘beauty’ shall
disappear after death. Similarly, the speaker in 'She Walks in Beauty' talks
of the ‘smiles that win...the tints that glow’.

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Differences ● The language in ‘To His Coy Mistress’ is sexually suggestive e.g. the
speaker wishing he had ‘two hundred [years] to adore each breast’, typical
of blazon poetry but also reflects the speaker’s attempt to persuade the
woman before it is too late.
● By contrast, the language in 'She Walks in Beauty' has no sexual
suggestion and the speaker does not wish to possess the woman in any
way, an appreciation of moral virtue and inner beauty.

Critical perspectives

Feminist reading

Feminist interpretations of 'She Walks in Beauty' argue that the poem is an objectification
of the woman and are critical about the speaker’s assessment of her appearance and
character. The poem mostly focuses on her physical beauty with all that is known about
the woman is communicated through the speaker and them only. In this sense, the woman
is a mute object, the object of admiration for the speaker, whose words of assumption
about her character comprise much of the poem. Not much is communicated about her
actual personality, her ‘thoughts’ are merely assumptions of the speaker on the purity
and innocence of her character.

The poem could also be interpreted as infantilising the woman, reducing her to an empty
template of an ‘innocent’, ‘calm’ ‘soft’ creature rather than a multifaceted woman with
a unique personality and character. This conveys the woman as childlike and passive,
disempowering her and upholding damaging tropes of traditional beauty. The woman
does not get the opportunity to speak for herself at any point, and the complete
breakdown of her appearance, for her hair to her yes to her skin adds to the sense of
total objectification. The speaker is presumptuous, assuming they can tell her thoughts
simply based on her looks, effectively silencing the woman.

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