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Kent Knowlton

The Tomb And The Rose

From the French of Victor Hugo

Said the tomb to love's sweet flower,
"Of the dews which morning's hour
Brings to thee, what mak'st thou, pray?"
"What mak'st thou," the rose replied,
"Of all who through thy portal wide
Pass beyond the light of day?"

The the rose said: "Sombre grave.
Of the dews which morning gave,
Perfumes, honey-sweet, make I."
Said the tomb: "O plaintive flower.
Of each soul that feels my power,
I make an angel in the sky."

Analysis (ai): The poem uses a brief dialogue structure in quatrains with a regular ABAB rhyme scheme; its simplicity contrasts with the complex theme, differing from the author’s longer, more elaborate lyrical forms while aligning with mid-19th-century tendencies toward symbolic dialogue.

Tone and Diction: Archaic phrasing like “what mak’st thou” and “O plaintive flower” lends a formal, almost liturgical tone, elevating the exchange between abstract entities and reinforcing a moralistic framework common in Romantic-era verse.

Thematic Exchange: The tomb and rose question each other’s purpose, framing decay and beauty as interdependent; this reciprocity subverts the era’s frequent opposition between life and death, suggesting transformation rather than negation.

Symbolism and Subtext: Rather than portraying the rose as a mere symbol of ephemeral beauty, it becomes an active agent producing “perfumes, honey-sweet” from morning’s gifts, implying that beauty arises through purposeful alchemy, not passive existence.

Religious Framing: The tomb’s declaration that it “makes an angel in the sky” introduces a redemptive spiritual logic, less about mourning than ascension; this aligns with Hugo’s recurring interest in moral transcendence through suffering, seen more somberly in Les Contemplations.

Contrast with Contemporary Norms: Unlike contemporaneous elegies that emphasize absence or despair, this poem presents death and life as co-creators; its symmetry avoids fatalism, offering a balanced vision rare in sentimental Victorian poetry.

Dialogue as Form of Inquiry: The call-and-response method echoes philosophical dialogues, distancing the poem from personal lyricism dominant in the period and instead positioning it as a meditative parable.

Engagement with Modern Concerns: Though pre-20th century, its structure anticipates modernist fragmentation and impersonal voices, using minimal personae to explore existential questions—an approach later refined in Eliot or Stevens.

Less-Discussed Angle: Often read as a simple contrast between life and death, the poem equally critiques utility: both tomb and rose defend their productivity, subtly questioning Romantic ideals of passive beauty and passive mourning.

Place in Author's Oeuvre: Less known than Hugo’s political or epic works, this translation reveals his fascination with dualities and metaphysical brevity, echoing motifs in his lesser-translated shorter poems that balance mysticism with rhetorical clarity.

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