A Lecture Upon the Shadow – Class 12 English Chapter 6 Notes & NCERT PDF

Poetry: An Introduction

The poetry section of Kaleidoscope opens with a short introduction. It defines a poem as a composition in verse, usually characterised by concentrated and heightened language, in which words are chosen for their sound and suggestive power as well as for their meaning, using techniques such as rhythm and metre. Reading and hearing good poetry, the book says, means appreciating the subtleties of cadence and rhythm, the variety of pace and pattern — "the music of poetry". Every poem we read adds, in some degree, to our total conception of poetry.

The eight poets in the section fall into two groups:

About the Poet: John Donne (1572–1631)

John Donne was representative of the metaphysical poets of his time. He set the metaphysical mode through vibrancy of language, startling imagery, and a diction modelled on direct utterance (the speaking voice). Brought up a Roman Catholic, he later converted to Anglicanism and was Dean of St. Paul's till his death.

The book explains that a metaphysical poem at its best startles the reader into seeing and knowing what he has not really noticed or thought about before. Like all Donne's poetry, this poem stresses intellect and wit rather than feeling and emotion.

Stanza-wise Meaning

Stanza 1 — The lecture begins at noon

Stand still and I will read to thee

A Lecture, Love, in loves philosophy,

The speaker asks his beloved to stand still while he gives her "a lecture" in the philosophy of love — a dramatic, conversational opening typical of Donne. For three hours they have been walking, and two shadows went along with them, which we our selves produc'd. Now the Sunne is just above our head: it is noon, and they doe those shadowes tread — the shadows lie directly beneath their feet. And to brave clearnesse all things are reduc'd: everything is now plainly visible.

He then applies the image to love. While their love was young (our infant loves), disguises and shadows flowed from them and their cares — they hid their love from others. But now 'tis not so. A love that still takes care to hide from others (still diligent lest others see) hath not attain'd the high'st degree. Their love has reached its noon — its fullest, most open point.

Stanza 2 — The warning of the afternoon

Except our loves at this noone stay,

We shall new shadowes make the other way.

Unless their love stays at noon, new shadows will fall on the other side. The morning shadows were made to blinde / Others — to deceive onlookers. The afternoon shadows will worke upon our selves, and blind our eyes: they will be deceptions between the lovers themselves. If love faint, and westwardly decline, each will disguise his or her actions from the other (To me thou, falsely thine; / And I to thee mine actions shall disguise).

The morning shadowes were away,

But these grow longer all the day,

But oh, loves day is short, if love decay.

Morning shadows shrink and disappear; afternoon shadows only grow longer. The final couplet gives the conclusion:

Love is a growing, or full constant light;

And his first minute, after noone, is night.

Love must either be growing or stay at its full; the very first minute of decline is already night — the end of love.

Central Idea

The poem uses the everyday movement of shadows during a walk as an extended metaphysical conceit for the stages of love. Before noon, shadows represent secrecy from the world; at noon, love is complete and open; after noon, shadows represent deceit between the lovers as love declines. The title — a lecture upon the shadow rather than upon love — shifts attention to what darkens love, making the argument more surprising and intellectual.

Literary Devices & Form

Word Power

Board Exam Focus

The exercises ask about the two kinds of shadow, why love is called light, the effect of the title and the poet's message.

Common Mistakes