This document provides an analysis of the poem "The Ruined Maid" by Thomas Hardy. It examines the key elements of language, structure, poetic devices, character, and voice used in the poem. There are two main speakers: a country maid who left her village and a former friend who encounters her now living in town. Through their dialogue and contrasts in dialect, the poem explores the hardships of rural life versus the false glamour of city life and how society "ruins" women.

1. Poetry Across Time: Character and voice
Key
Language: connotation, imagery, metaphor, simile
Structure and form: stanzas, type, patterns, contrast, juxtaposition
Poetic methods: alliteration, caesura, assonance, rhythm, rhyme
Character and voice: who is speaking and to whom? Tone of voice
Links: comparisons to other speakers, methods and themes
There is something of a paradox in the title
is we take ‘maid’ to mean ‘maiden’ in the
virginal sense and assume that ‘ruined’
means sexually impure. The first speaker who
dominates the dramatic
dialogue, if not the poem. Her
Superficially, counterpart is enigmatic, by
greeting implies The Ruined Maid contrast.
intimacy but poem
reveals little affection ‘O 'Melia, my dear, the does everything crown!
between the two.
Who could have supposed I should meet you in Town?
And whence such fair garments, such prosperi-ty?’ –
‘O didn’t you know I’d been ruined?’ said she.
Images of hardship The rhyming couplets
reflect the poverty rife reflect the forced gaiety of
in Victorian England, -‘You left us in tatters, without shoes or socks, the first speaker.
city and country. Tired of digging potatoes, and spudding up docks;
And now you’ve hay bracelets and bright feathers three!’ –
Repetition of ‘we’ ‘Yes: that’s how we dress when we’re ruined,’ said she.
here and elsewhere
dislocates the 2 Dialectic contrasts with
speakers. the more eloquent
-‘At home in the barton you said “thee” and “thou”, language of line 12,
And “thik oon”, and “theas oon”, and “t’other”; but now raising the issues of
Descent into what social etiquette,
dialect implies
Your talking quite fits ‘ee for high compa-ny!’ –
propriety and goodness
speaker adopts ‘Some polish is gained with one’s ruin,’ said she. mean
air and graces.
Both women are -‘Your hands were like paws then, your face blue and bleak
made by society into But now I’m bewitched by your delicate cheek, The Hyphenation may reflect
witches; farm And your little gloves fit as on any la-dy!’ – pomposity in the first speaker.
workers
‘we never do work when we’re ruined,’ said she. It certainly sets up a rhyme
(appearance),
which is resisted by the
prostitutes (evil).
second, thus creating tension.
-‘You used to call home-life a hag-ridden dream.
Hardy invites the
And you’d sigh, and you’d sock; but at present you seem
reader to consider
whether the farm To know not of megrims or meloncho-ly!’ –
Repetition of this word in
worker or the prostitute ‘True. One’s pretty lively when ruined,’ said she. various forms intensifies
has the harder life. the likelihood that Hardy is
using it ironically.

2. The second speaker
adopts the first
speaker’s ‘My Dear’,
perhaps in mockery.
Her use of ‘you be’ -‘I wish I had feathers, a fine sweeping gown,
and ‘ain’t’ seem to Refrain only constant:
support this but also
And a delicate face, and could strut about Town!’ –
it emphasises, by
underline that they ‘My dear – a raw country girl, such as you be, repetition, the maid’s
share tragic lives Cannot quite expect that. You ain’t ruined,’ said she. status is unchangeable
Full stops break the rhythm of
the poem and alter the mood.
Interpretations of the poem:
 A very Victorian, almost gothic, summary of how glamour,
riches and fun also come with a hypocritical veneer of
deviousness, deception and the exploitation of others. The
woman has sold her innocence for a life of expensive clothes
and glamour and appears to be none the happier for having
done so, as though she has sold her soul to the devil.