Ball Taran Essay / Summary

— The Corvey Poets Project at the University of Nebraska —

British Poetry of the later Eighteenth and Earlier Nineteenth Centuries

Bibliographical and Contextual Apparatus

Ball, Edward [Fitzball, Edward].

The Revenge of Taran. London: Whittaker, 1822.

Descriptive Essay

Structure and Style of The Revenge of Taran:

Following a dedication and advertisement that function as introductions, Fitzball sets the scene of his poem in the first line - the great hall of Inis Thona. The author proceeds to introduce the reader to the time setting, which is "feudal," and to the two main characters, Zhinia and Ivvor.

The author uses a chronology of events as a framework, with two flashbacks nested within that framework. The flashbacks give the background or history of the main characters. The first flashback is that of the stormy night when Rhoda left her son Ivvor with Inis. The second flashback follows immediately, and tells of the evening when Ivvor followed Zhinia on her walk and first encounters the villain.

Towards the end of Part I, the author continues in the Thona Hall with the rest of the action, and introduces the rest of the characters. Fitzball ends part I with the conflict established when Taran of the neighboring clan is offended, and announces he will return to kill all the Thona clan.

The character of Taran dominates part II, and the action does not reach its climax until the very last lines. In the second part, the characters' true identifications are revealed and the real source of the conflict is discovered.

This poem combines the major element of (1) a tragedy because all major characters die, and, (2) the narrative poem, which is poetry telling a story of incidents and events, which involve, directly or indirectly, the poet's desire. The author also uses elements of the ballad in this long narrative poem, in the song that Zhinia sings in Part I. He uses the elements of the monologue as well, in the last part of Part II, with the character, Taran, talking. The poem, itself, is written in mostly iambic pentameter with irregular length stanzas.

In Part 2, Fitzball writes in third person but also intersperses his own thoughts and feelings. These come almost like the aside used in theatrical productions. In this part, Fitzball reveals his talent as a playwright, particularly in the melodrama, which typically uses the aside heavily. This technique was used as a way to sway the reader's feelings to one way or another.

Following Part 2 of the poem, the author has placed a Sonnet and an additional poem as though memorials to two of the characters from The Revenge of Taran that died. The Sonnet seems to speak of Zhinia in the poem, while following it is a memorial to Rhoda who lost her baby — or to any mother who has lost an infant.
The novel, especially the historical novel, as written by Sir Walter Scott, was by 1822 well on its way to surpassing the traditional epic poem. Fitzball experiments with both elements, writing historical fiction in a form much like an epic. Perhaps a nostalgic attempt to bring back an old form of the past, however, this experimentation is a deviation from authoritative standards, which is fitting for the romantic authors of the time.

Dedication:

The dedication introduces the work to validate it and the author. Edward Fitzball attempts to demonstrate his humble position while at the same time establishing his worth. The dedication of this work is to Capel Lofft, Esq., from whom the author apparently sought advice. He may be poking fun at Capel Lofft, Esq. Capel Lofft resides in another country at the time of writing this dedication. The last time Edward saw him, he had gained Capel's "disinterested" advice, which Capel had "condescendingly" conferred upon him. Edward expresses "apprehension" about now publishing this poem, remembering that Capel Lofft had advised him that it should not be published. Fitzball determines that the advice was foolish, and was in any case more of a general opinion - not an "enlightened" thought. Looking back on his work, Fitzball was "proud . . . it excited the minds of several distinguished literary characters"; therefore he is glad that he has published the poem. Fitzball states that Bloomfield (Robert Bloomfield) is a patron of his work. Capel Lofft supported Robert Bloomfield and even wrote the biographical preface to Bloomfield's very successful poem The Farmer's Boy. Fitzball nullifies Lofft's criticism and proves him wrong by making Bloomfield himself a patron. So, in effect, he is saying to Capel Lofft, Esq. "Up yours!" in a very polite manner.

Assuming that the date, 1822, is accurate, this publication comes at a time in English literature when the poem or epic was giving way to the novel - a newer form made popular by Sir Walter Scott. If it is an epic, I might suggest that the only character able to hold the title of "hero" is Ivvor. The poem does have elements of a tragedy in that the main characters are killed in the end. With the poem's many references to Catholicism, the priest, the church, the author intends for the reader to assume this is set in Scotland in a far earlier time period than 1822 because by 1822 England (and all of Great Britain) has long split with the Roman Catholic Church and is now protestant. (To draw analogy with a recent popular film, the story is set just before the time portrayed in Mel Gibson's Braveheart.) The author sets the time by using the term "feudal" in the second line, Part I. Though this work comes much before the time Alfred Lord Tennyson wrote, it does contain in the last pages the speech of Taran, which hints of the dramatic monologue that Tennyson used.

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Fitzball attempts to prove through his poem that it does not take a "'Vampire" or a "Frankenstein'" to produce "real horror" against another person: "superhuman agents" are unnecessary because everyday men and women commit such acts. Here, he seems to state his theme, that man inflicts evil on others and on themselves, evils that are more horrible than any monsters could inflict.

Characters

Inis - chieftain of Thona clan and father of Zhinia
Zhinia - daughter of Inis
Donalbain - eldest son of Inis
Malcolm - brother to Donalbain and Zhinia
Ivvor - "adopted" boy (Taran's son)
Rhoda - woman in out of the storm (ex-lover of Taran)
Taran - neighboring chieftain
Una - wife of Taran

Story Summary

PART ONE

"Warlike clan[s]," the clan of Taran and the Inis Thona clan, hold a celebration for Inis' daughter, Zhinia, on her seventeenth birthday. The long blonde-haired, blue-eyed Zhinia loved only one man, Ivvor, who owned nothing but a sword; his feelings for Zhinia - he thought - were held secret within his body. Inis knew of the feelings between them both and would have bestowed his daughter's hand to Ivvor, except his sons were "high in their pride of birth" (6), and would not allow the union. The brothers wanted Zhinia to marry the Taran, because "Ivvor grac'd a title not his own" (6), so the brothers could not gain political power. This is a recipe for trouble. Ivvor walks off, alone to meditate.

A Flashback begins on page seven, the story of how Ivvor came to be with the Inis Thona clan. Rhoda visits her dead infant's grave, the infant that she conceived and gave birth to out of wedlock. The lover broke his promise of marriage and left her to marry another woman. Rhoda grieves from the loss of her lover and the loss of her infant son, and feels people pity her. When leaving the gravesite, she encounters her ex-lover's wife and boy. Rhoda strikes down the ex-lover's wife and steals the toddler. She flees far from the land of the toddler's father. On a stormy night, crazed by her passion for revenge and by injury from a rock that was struck by lightening and fell on her from above, she bursts into Inis' house, and recounts her story. She was cursed because she lost her baby and her original intention was to raise the child to hate the ex-lover's family and eventually kill the ex-lover (the boy's father). She dies unable to carryout her revenge and stating only her name. She leaves the boy, Ivvor, with the Inis family.

Morality was a popular issue among authors at this time. In this first flashback, Rhoda suffers the consequences for enacting her vengeance on the wrong person. God seems to bring justice to those who seek vengeance. Rhoda loses her chance to see her revenge carried out against her ex-lover, and is punished as if by God for killing her ex-lover's wife. The author seems to be saying that persons suffer the consequences of their actions.

Ivvor grows up alongside the chieftain's sons and daughter, and saves Inis Thona's life during combat in a feudal war. "Ivvor . . . barr'd the deadly blow intended to annihilate his Chieftain" (15). This stanza segues to a second flashback story.

Zhinia frequently stargazes alone at night. Unknown to her, Ivvor watches her from a distant with unrequited love. One night a stranger dressed in armor lurks in the woods, and attempts to kidnap Zhinia. Ivvor rushes towards the ruffian carrying "the senseless, beauteous treasure" (18), and they draw swords. Zhinia "calls on heaven" (18), and Ivvor and the mysterious ruffian engage in combat. Ivvor brings a devastating blow to the ruffian that knocks loose his helmet so that he must cover his face with his shield to keep from revealing who he is. In that moment Ivvor stares into the barbarian's "dark eyes" - his face "unveil'd" (19) - and the mysterious knight strides off into the night, leaving Ivvor in a trance. Zhinia's voice awakens him from his trance, but Ivvor suspects the identity of the ruffian.
Common folk think Ivvor rescued Zhinia from the "phantom knight" from the sea, but some think Ivvor staged the whole scene. Ivvor never spoke of why he did not chase after the mysterious ruffian.

Back to the present celebration, Zhinia plays the harp and sings The Mountain Chief. The song is a foreshadowing of what is to come in the poem - Zhinia prophesizes her own death. The song tells of Ella and her lover, a chieftain, who runs away with her. A beadsman informs Ella's father, Lord Oswin. Ella and her lover make love, when Oswin arrives and slays the young chieftain despite the desperate pleas from his daughter. Ella dies of grief next to her lover, but even "sadder . . . the strain of woe in childless Oswin's dwelling. Zhinia's song ends. The Party is silenced by the sadness of the song.

It is after midnight, and Zhinia leaves the banquet with her train of maidens in tow as father watches. Inis Thona breaks the silence with a toast to Taran. With his "dark eye flashing fire," (27) Taran returned the toast and seized the moment to ask for Zhinia's hand in marriage. Ivvor is present, and Inis pauses before answering. Ivvor disliked Taran, but not because of jealousy. He knew Taran was the knight who had tried to kidnap Zhinia. Ivvor wonders: why did Taran attempt to kidnap Zhinia, when he could just marry her? Inis Thona took in Ivvor, so he never aspired to gain more (Zhinia) for fear of being ungrateful. Yet, Ivvor would do anything for Zhinia to make her happy. He hoped for Zhinia's hand, but hope was fading fast.

"Inis Thona mark'd . . . Ivvor's quiv'ring lip" (30), and turned Taran down. Ivvor's hope is revived. Inis tells Taran that his daughter will marry the one she loves. The Thona sons, Donalbain and Malcolm, voice their objections, and ask for the identity of Zhinia's love and from what lineage he descends? Inis demands his sons' obedience, while Ivvor sits by and tries to hide his face. Inis declares Ivvor to be Zhinia's love with the approval of his (dead) wife. Party members murmur amongst themselves as Ivvor dares not raise his eyes in embarrassment and humility, "tho' throbs of joy seem'd bursting from his breast in wild emotion" (35). Donalbain opened his mouth before he realized his father's deeds are correct and wise. He, too, "lov'd [Ivvor] beyond a brother" (35), and asked forgiveness for his rash words. Ivvor accepts the apology and Zhinia's hand with humility, and the clan accepts Ivvor, raising their voices in cheer.

Taran threatens revenge and calls Ivvor a "beggar" (37). A fight ensues. Taran gives in to "the better grounded cause of Ivvor" (38). However, Taran exits, promising to return and kill all of the Thona clan.

END OF PART ONE

PART TWO

The second part opens by stating that Taran is no longer in Inis Thona's halls, and the time and the scene changed. The wedding preparations begin, while the young lovers dream of tomorrow's ceremony. Taran is home, stewing in anger and plotting his revenge, so absorbed that the surrounding beauty goes unnoticed by him . . . "like some unquiet ghost he moves along" (45).

At a church not far from Inis Thona's halls, where infants are baptized, Taran attempts to slip in unnoticed, wearing dark clothing to conceal his identity. Taran succeeds, and in dark, sinister style, surveys the church and proclaims aloud to burn everything down "with those massy doors . . . braced and bolt'd" (48). Taran intends to lock in the wedding party, and even refers to how Ivvor won Zhinia the night he rescued her from him. Taran's speech is gruesome in detail as he describes the burning of Ivvor, Zhinia, and guests that he wishes to see, so he could then "trample . . . on their limbs convuls'd with pain" (48). He hears someone approach and absconds to nearby coverage outside the church. And then, Fitzball asks whether heaven will warn the wedding party to heighten the impending doom.

The next scene starts with arrival of the wedding train. Riding first is Inis Thona with his sons by his side and Zhinia following, then Ivvor "like a God, in mortal form" (49). The guests arrive and the wedding procession begins. While all "devoted victims" (50) worship in reverence, Taran's group storms in wearing dark clothing, bearing torches in their hands and surrounds everyone. Fitzball, again, heightens the scene with a passage asking why God would let this happen.
Taran's group sets fire to the church and locks everyone in side. The people cry out and Inis Thona "calls for aid" (52), but all in vain. Taran's voice can be heard over the screaming saying, "Remember the revenge of injur'd Taran!" (52). Zhinia offers herself to Taran to save the others, but Taran "with marble-hearted coolness" (53) refuses her desperate plea. "A deathlike pause ensues" (54), and in the silence Taran's group tune their instruments, and then sing and play a victory song called Harpers' Song.

The song stops and the church doors burn and crash to the ground leaving an opening. Taran does not look towards the church out of fear and guilt. Ivvor survives and emerges, carrying Zhinia dead in his arms. Fitzball proclaims his wish that Ivvor could have "fallen with his martyr'd friends" (57), instead of seeing such torture.
Taran gazes upon Ivvor kneeling over Zhinia's corpse, and Taran "notes the lover's [(Ivvor's)] moan" (59), that all hope for Ivvor is gone with her. Ivvor, in a state of despair, lays Zhinia's body to rest on a green bank with foliage arched overtop.

Taran observes the damage his wrath has caused, and questions his own actions. Was it worth the pain and torture? "[Fate] averts the effort" (60) of Taran's revenge - Ivvor still lives. Taran's revenge is re-inspired by the site of Ivvor, and he stabs Ivvor in the back as he mourns. The author makes Ivvor "superhuman" and "not of this earth" (62) in the eyes of Taran and the reader, and that Taran and Ivvor share common blood.

This point in the story refers to the Advertisement. Two men (father and son) share common blood, but being a monster is ultimately a choice - not an inheritance, or caused by a supernatural force - even when confronting the man who has destroyed all your hopes and everything you loved.

Ivvor survives, fights back, takes Taran down, with his foot on Taran's neck, he spares his life, and leaves Taran subject to worse peril - his own conscience.
Ivvor submits to Taran's clan and he is dragged away when Taran recognizes Ivvor's necklace bearing a symbol of Taran's clan, and questions him about it. Ivvor tells of his mother's dieing words that she "pronounced me nobly born" (66). Upon second look, Taran realizes Ivvor resembles his mother, Una. Ivvor falls to Taran's feet, and Taran declares that he is Ivvor's father. Ivvor thanks God for not killing his father, and bleeds to death. Taran is caught by his own misdeed because he killed his only son, and caused the death of his wife, Una.

Taran claims responsibility for the death of Ivvor's mother, Una, because he scorned Rhoda and caused Rhoda to kill Una. Taran talks as if his wife, Una, is listening from "glory" (70). "Had I thought me then, what sad experience and what God could make me, that He who knows to punish, loves to pardon. [Had I] . . . not revolted at the hand which chasten'd, this day had never come" (69). Taran thinks his latest rampage is far worse than the scorn he placed on Rhoda, and therefore it damns him from entering heaven. Taran did not pray or consider God's will or purpose, and expresses his guilt by requesting he go so far away that only the adder (Satan) be his company.

Taran continues in his speech that he was a mighty and valiant leader and warrior, but then sin "made me captive" (74) - he should have heeded the warnings and repented because he can never regain a soldier's valour and virtue. Taran then states he will no longer be found tomorrow, but that if his people seek him, he will be "a form of mist, unearthly" (75), appearing in the halls of Inis Thona. Taran commands his people to collect the dead, place Ivvor and Zhinia together and cremate them in the burning remains of the church, giving them a proper burial.

Taran, wrought with guilt from his crimes and sins, slips away from the proceedings. He appears atop the church tower above the flames, gives another despairing speech, and throws himself headlong "to the burning aisle, was buried in the flame, and seen no more.
Here, again, Fitzball brings about morality by causing another character to suffer the consequences of his actions.

END OF PART TWO & THE REVENGE OF TARAN

"SONNET TO THE EVENING STAR"

The sonnet is about how a star, in this case a woman named Zhinia, gives a person calm and acceptance, and lights the path to an "eternal home." Zhinia is called an "evening star" on page four.

"THE MOTHER TO HER INFANT, DEAD"

A mother is mourning the loss of her baby. She gazes upon him, wondering where the look of easy happiness has gone, the look that told her he was okay, and that calmed her fears and made her think of his father because of his resemblance.
Her sorrow cannot be expressed; she cannot weep now, even though she has wept for others. Her feelings cannot be expressed. She wants him back so much just to kiss him, to see his smile - this smile is pasted on a dead face and does not change.
If he just looked a little sad, it would soothe her. While hurting and uncomfortable, the baby was alive, and so was hope, but now, no hope in death.
She imagined what he would be like as a man and what he would do when she was old
She was too happy and too loved by his father, and too blessed by having this baby to realize the depth of grief to come. Parting from someone loved hurts, but not seeing the smile of love hurts worse.
Even the flowers on the grave are fading. The child threw a Hawthorn away and she did not understand the symbolism or foretelling of the child's death, even the dew falling from the big, parent plant could not deliver the message of coming doom.
God forgive man's errors. Teach him to bear his present state and teach me (author) to know or to understand the good You (God) are willing to give.