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Robert SouthwellA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Robert Southwell’s “The Burning Babe” consists of sixteen lines arranged in a single stanza. The poem is written in rhyming couplets, meaning that each pair of lines rhymes; therefore, there are 8 sets of rhymes in the poem. For example, lines 5 and 6 rhyme “shed” with “fed,” while lines 9 and 10 rhyme “thorns and “scorns.” The rhyming pairs assist with the momentum of the poem, propelling it forward. Most of the lines are written in iambic heptameter, meaning that there are seven iambs in each line. An iamb consists of an unstressed syllable followed by a stressed syllable. This poetic structure is illustrated in the following line: “For which, as now on fire I am to work them to their good” (Line 13). As with the rhyming couplets, the use of the rhythmic iambic feet likewise assists with the forward movement of the poem, ushering the reader from one facet of the vision to another, deeper into the revelatory experience.
While modern readers may think some lines break this iambic pattern, what they are actually seeing is a poetic rendering of syllables. For example, to scan correctly, line 5 reads, “Who, scorched with excessive heat, such floods of tears did shed.” The word “scorched” here is pronounced with two syllables, making the iamb work. Similarly, in line 9, the word “fuel” becomes a two-syllable word: “My faultless breast the furnace is, the fuel wounding thorns.”
Enjambment occurs when a line does not have a hard stop at the end of it, meaning there is no form of punctuation at the end of the line. Nearly all of the lines in Southwell’s poem end with either a comma, semicolon, period, or exclamation point. Since the punctuation serves to close out a thought or phrase, the punctuation hints to readers where they can pause while reading or take a breath. The punctuation assists in separating complete thoughts and ideas. Only one line in the poem does not end with any form of punctuation, blending directly into the next line without any hard stop acting as a means of separation. This enjambment occurs in lines 5 & 6: “Who scorched with excessive heat, such floods of tears did shed / As though his floods should quench his flames with which his tears were fed.” The flowing of line 5 into line 6 is a visual representation of the tears flowing from the holy babe’s eyes that feed the flames perpetually consuming his body. The enjambment used by Southwell maintains a consistent pace between lines 5 and 6, lacking any pause, and builds the tension in the poem caused by the “excessive heat” of the vision.
A metaphor is a comparison between two unlike things without using the words “like” or “as” (as opposed to similes). There are numerous instances of metaphors throughout Southwell’s poem. In line 9, the burning infant’s “breast” is equated to a “furnace.” This comparison extends through the following lines, and other metaphors build upon it and feed into it. In this “furnace” metaphor, “Love is the fire, and sighs the smoke, the ashes shame and scorns” (Line 10). The “metal” of the furnace equates with “men’s defiled souls” (Line 12). This extended metaphor of metal working, like blacksmithing, makes the imagery of the Jesus figure’s love and salvation more accessible for readers. Religious imagery can often be abstract and vague; by using metaphorical language and comparisons, Southwell more effectively gets his message across to his reading audience.