Stanza 196 - Explanation

Original Stanza

At last she calls to mind where hangs a piece
Of skilful painting, made for Priam’s Troy,
Before the which is drawn the power of Greece,
For Helen’s rape the city to destroy,
Threat’ning cloud-kissing Ilion with annoy;
Which the conceited painter drew so proud,
As heaven, it seemed,  to kiss the turrets bowed.

🔍 Line-by-Line Analysis

Okay, let's break down Stanza 196 from Shakespeare's The Rape of Lucrece line by line, then look at the overall meaning and literary devices.

Line-by-Line Breakdown:

• "At last she calls to mind where hangs a piece": This sets the scene within Lucrece's chamber, after the rape. She is remembering something that exists in her house. She is thinking, in desperation, and is now remembering something significant. "At last" stresses the build-up of emotions preceding this moment.
• "Of skillful painting, made for Priam’s Troy,": This tells us the "piece" is a painting, and its subject matter relates to the Trojan War, specifically events concerning King Priam. Troy was the capital city of the Trojans.
• "Before the which is drawn the power of Greece,": "Before the which" is an archaic way of saying "in front of which" or "depicted on it." This indicates that the painting depicts the Greek army and its might. The word "power" implies both their military strength and perhaps their moral force in this context (even though their cause is rooted in Helen's abduction).
• "For Helen’s rape the city to destroy,": This clarifies why the Greeks are depicted: they are there to destroy Troy as revenge for the abduction (rape) of Helen by Paris. This directly parallels Lucrece's situation, being a rape that will result in the destruction of a family. This line strongly connects the imagery to the overarching theme of the poem.
• "Threat’ning cloud-kissing Ilion with annoy;": "Ilion" is another name for Troy. The painting shows Troy, whose towers are so high they seem to kiss the clouds, being threatened with "annoy," which is a mild word for the impending destruction and suffering the Greeks will inflict. Shakespeare is highlighting the immanence of the threat, how it is just about to burst. "Cloud-kissing" is a powerful visual.
• "Which the conceited painter drew so proud,": "Conceited" here means skillful or ingenious (not necessarily vain, although there's a hint of that too). The painter depicted the scene with such artistry and force. "Proud" suggests the grandeur and imposing nature of the scene.
• "As heaven, it seemed, to kiss the turrets bowed.": This line concludes the description of the painting, emphasizing the visual perspective that the painting shows the turrets of Troy so bowed, as though they were trying to kiss the heavens. This is a hyperbole to emphasize the height of the towers, but also shows the destruction that has brought them so low.

Overall Meaning:

In this stanza, Lucrece recalls a painting depicting the siege of Troy due to Helen's rape. The painting is intensely vivid, showing the Greek forces poised to destroy the seemingly invincible city. The artist has captured the grandeur and impending doom of Troy so effectively that the towering walls seem to reach and then bow to the heavens.

The significance of this stanza lies in its parallel to Lucrece's own situation. Just as the rape of Helen led to the destruction of Troy, Lucrece's rape threatens to bring about the destruction of her family and her own life. The painting serves as a visual representation of the devastating consequences that can stem from a single act of sexual violence. Lucrece identifies with the Trojans in the painting, helpless against an external force that will destroy them.

Literary Devices:

• Allusion: The entire stanza is an allusion to the Trojan War, a well-known story from classical literature. This adds layers of meaning and resonance to the poem.
• Imagery: The stanza is rich in visual imagery: "cloud-kissing Ilion," "power of Greece," and the description of the painting's perspective. These images create a vivid picture in the reader's mind.
• Hyperbole: "Cloud-kissing Ilion" is a hyperbolic description of Troy's height, emphasizing its former glory and the magnitude of its impending fall. The towers "bowed" in the last line are also a hyperbole.
• Personification: The towers of Troy are given the human characteristic of being able to "kiss."
• Irony: There's a subtle irony in the use of the word "annoy" to describe the destruction of Troy. It's a massive understatement, highlighting the disparity between the word and the reality of war.
• Foreshadowing: The painting foreshadows the destruction that will follow Lucrece's rape. It sets a precedent for the devastating consequences of sexual violence.

In conclusion, Stanza 196 is a crucial section of The Rape of Lucrece because it uses the image of a painting depicting the Trojan War to mirror the impending destruction facing Lucrece and her family as a result of her rape. Through powerful imagery and allusions, Shakespeare connects personal tragedy to historical events, demonstrating the far-reaching impact of sexual violence.