Delight in Disorder

Fiction | Poem | Adult | Published in 2007

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Summary

Background

Poem Analysis

Themes

Symbols & Motifs

Literary Devices

Symbols & Motifs

“The Crimson Stomacher”

One significant description from “Delight in Disorder” is the “erring lace, which here and there / Enthrals the crimson stomacher” (Lines 5-6). This particular image realistically describes the piece of material at the front of the dress being held in place by laces. However, sensuality is added by the “erring” (Line 5) nature of those laces, conveying that the corset is a bit loose rather than straitlaced. This hint toward passion is enhanced by the “crimson” (Line 6) color of the “stomacher” (Line 6), which is placed over the chest area. Red is often associated with the heart and/or the emotion of passion, which is part of The Links Between Dress and Sexual Expression throughout the poem. Moreover, the attached lace “enthrals” (Line 5) the stiffened fabric. This means that the fabric is literally held in by the laces—enthralled, as in captured—while figuratively suggesting how the entire outfit is one that is captivating—or enthralling—the speaker.

Confusion

Confusion forms an important motif in the poem. One disordered part of the woman’s attire that Herrick’s speaker notices is a “cuff neglectful” (Line 7). This unfastened end part of the woman’s sleeve causes “[ribbons] to flow confusedly” (Line 8) from it. This image of confusion or perplexity extends to the speaker’s emotional state. The speaker faces confusion as they are pulled from a more contained status quo toward the suggestive wildness that they imagine this state of disorder discloses in the woman: The woman’s shawl creates a “distraction” (Line 4), and the laces that fasten the “stomacher” (Line 6) are “erring” (Line 5), or straying from their precision. The petticoat is “tempestuous” (Line 10), while the string of the shoe is “careless” (Line 11).

Eventually, these items of chaotic charm disarm the speaker’s feeling of confusion and “bewitch” (Line 13) him instead. The qualifiers connected to the attire’s disarray—“sweet” (Line 1), “fine” (Line 2), “enthrals” (Line 6), “flow” (Line 8), and “winning” (Line 9)—show that while the speaker notices their confusion, they ultimately enjoy the state of disorder that brings it about.

Bewitchment

Bewitchment and attraction are also key motifs in the poem. The woman’s attire is described as somewhat off-kilter, but the speaker notes that it “do[es] more [to] bewitch” (Line 13) them than any perfected appearance. This use of the word “bewitch” (Line 13) is significant because it conjures up the idea of something magical occurring. In other words, this attraction goes beyond the straitlaced rules of society and is part of something unfettered and unrestrained that brings out a certain “wild civility” (Line 12). In this poem, the unexpected “wantonness” (Line 2) that the woman’s look creates for the speaker rattles their routine, creating an acceptance for that which isn’t within “art” (Line 13).

Like the “erring lace” (Line 5) of the woman’s dress, it still remains functional and proper, but only “here and there” (Line 5). This light hold of the lace—and/or civility—“enthrals” (Line 6) the speaker. If something is enthralling, it mesmerizes or holds one spellbound—it “bewitch[es]” (Line 13). As a cleric, Herrick may outwardly embrace order, but in his Cavalier poem, his speaker celebrates social and material pleasure. The language regarding witchery, spells, and “wild civility” (Line 12) helps to express that there are deeper natural laws of attraction than what society dictates.