Theme and style in The Lotos-Eaters

“The Lotos-Eaters” is a dramatic monologue that transcends mere written expression. The term “dramatic” implies that it can be acted out and is a form of drama, while “monologue” defines it as a speech delivered by one person, either to oneself or to another. A dramatic monologue is skillfully crafted to reveal not only the current situation but also the intricacies of the character involved.

Tennyson’s literary works dealt with a wide range of themes, including Greek mythology. In addition to “The Lotos-Eaters,” he also composed another dramatic monologue titled “Oenone,” which reveals the mental anguish experienced by Oenone, the woman who harbored affection for Paris.

“The Lotos Eaters” delves into the tension between isolation and community, involving the reader in the poem’s thematic exploration. This poem utilizes vivid imagery that allows readers to empathize with the mariners’ plight. As the mariners question why tranquility escapes them while others find peace, ambiguity shrouds whether their inquiry extends to humanity in general or is confined to their own isolated state. At this juncture, the reader experiences a momentary detachment from the mariners, especially when the reader is unable to escape into the blissful world of eating lotos. Consequently, the initial questions transform into self-pity. The reader can reconnect with the mariners when they express a desire to be united with the world. They describe a system of completion, similar to Keats’s “Ode To Autumn,” where life embraces fulfillment until death. However, the mariners abruptly reject this system, opting for a stark desire for death without the prerequisite stages of growth and completion.

This poetic masterpiece is divided into two sections, each with its own unique allure. The first, a descriptive narrative (lines 1–45), is written in nine-line Spenserian stanzas, so named because they were employed by Spenser in The Faerie Queene. The rhyme scheme of the Spenserian stanza is a closely interlinked ABABBCBCC, with the first eight lines in iambic pentameter and the final line an Alexandrine (or a line of six iambic feet). The second part is a choric song (lines 46–173), comprising eight numbered stanzas of varying lengths. The choric song exhibits a more liberated structure, with both line lengths and rhyme schemes varying widely among the eight stanzas.