Piano by D.H. Lawrence

Piano shares a common theme with the rest of D. H. Lawrence’s work. From short stories to novels, Lawrence explores childhood memories and how they can be related to real memories or invented situations. In Piano, the lyrical voice romanticizes and sentimentalizes certain events that took place in the past. In Lawrence’s works, emotion tends to win over thought, as feelings and sentiments are more powerful than rational thinking.

Piano is a lyric poem. It is written in three quatrains and it has an AABBCCDDEEFF rhyme scheme. Piano has a constant pace with a particular rhythm, just like a song, representing the title of the poem. Moreover, the tone of the lyrical voice is melancholic and sentimental. As already mentioned, the central theme in Piano is memory and its relationship with childhood and adulthood. The lyrical voice experiments a conflict between present experiences and past memories.

Piano by D.H. Lawrence


Piano Analysis

First Stanza

Softly, in the dusk, a woman is singing to me;

Taking me back down the vista of years, till I see

A child sitting under the piano, in the boom of the tingling strings

And pressing the small, poised feet of a mother who smiles as she sings.

In the first stanza, a woman sings to the lyrical voice. The poem begins by setting the scene: “Softly, in the dusk”. A woman sings to the lyrical voice, and takes him/her back in time (“a woman is singing to me;/ Taking me back down the vista of years”). From the beginning, Piano creates a very nostalgic mood. There are two settings in the poem: the scene where the woman sings while the sun goes down in the distance, and the remembrance of the lyrical voice. The first two lines of the stanza will depict this first scene, the presence of the lyrical voice, and the second two lines will portray his/her memory and past. The memory starts when the lyrical voice says that he/she sees a child under a piano (“till I see/A child sitting under the piano”). This child is surrounded by music (“in the boom of the tingling strings”) and is “pressing the small, poised feet of a mother who smiles as she sings”. This remembrance feels intimate and homely, while creating an atmosphere of childlike innocence and peace. “the tingling strings” is an onomatopoeia that portrays the sounds of the piano and creates a literary effect. Furthermore, the lyrical voice says that the song of the woman takes him/her back to the “vista of years”, serving as a metaphor for his/her childhood memories.


Second Stanza

In spite of myself, the insidious mastery of song

Betrays me back, till the heart of me weeps to belong

To the old Sunday evenings at home, with winter outside

And hymns in the cosy parlour, the tinkling piano our guide.

In the second stanza, the lyrical voice is aware of his/her remembrance. The power of the song (“the insidious mastery of song”) seems to be stronger as the lyrical voice says “In spite of myself”; the lyrical voice knows that he/she is being nostalgic and melancholic and he/she does not give easily to emotion. Once again, the lyrical voice is drawn to his/her memories without wanting it. Emotion and memories are more powerful and the lyrical voice is, again, surrounded by a childhood remembrance. “Betrays me back, till the heart of me weeps to belong” is powerful imagery to portray the lyrical voice’s wish to live his/her childhood memories again. The heart is personified and given the human capacity of crying. Like in the previous stanza, the first two lines talk about the lyrical voice’s present situation and the following two describe the remembrance that he/she is having at the moment. The lyrical voice sets the scene for this memory, as he/she states: “To the old evening at home with winter outside”. The house and the lyrical voice are, again, surrounded by music in this comfortable and secure home (“And hymns in the cosy parlour”). Moreover, the piano acquires a central place in the remembrance, as the lyrical voice mentions it as “our guide”. As in the previous stanza, the figure of the piano is introduced with onomatopoeic descriptions that enable a more vivid image (“the tinkling piano”).


Third Stanza

So now it is vain for the singer to burst into clamour

With the great black piano appassionato. The glamour

Of childish days is upon me, my manhood is cast

Down in the flood of remembrance, I weep like a child for the past.

In the third stanza, the lyrical voice’s thoughts about the song of the woman change. The lyrical voice suggests that at that precise moment (“So now”) the song has lost its happiness and its meaning (“It is vain for the singer to burst into clamour/With the great piano appassionato”).  The lyrical voice meditates on what he/she feels about the memories that he/she experimented (“The glamour/Of childish days is upon me”), and how he/she is no longer living those good times that were represented in his/her childhood. The remembrance ends and the “manhood” is lost, as the lyrical voice gives in to emotion (“I weep like a child for the past”). In the last line, there is a simile (“I weep like a child”) in order to emphasize the act of crying and how this memory affected the lyrical voice. There is a central longing for the past, for the childhood memories, throughout the poem that grows with every line and culminates with this final statement.


About D.H. Lawrence

David Herbert Lawrence was born in 1885 and died in 1930. He was an English poet, novelist, playwright, literary critic, and essayist. In most of his texts, Lawrence examines topics such as sexuality, instinct, vitality, spontaneity, among others. Most importantly, he focuses on the dehumanizing effects of modern times and the process of industrialization. During his lifetime, Lawrence was censored and persecuted due to his strong beliefs and the misrepresentation of his works. He spent the last years in a voluntary exile, he called it “savage pilgrimage”, which took him to places such as Australia, Italy, United States, Mexico, and France.

When he died, despite Lawrence’s public reputation, E. M. Foster said that he was “the greatest imaginative novelist novelist” of their time. D. H. Lawrence’s most notable works include novels such as Sons and Lovers, The Rainbow, Women in Love, Lady Chatterley’s Lover, John Thomas and Lady Jane, and stories such as Odour of Chrysanthemums, The Virgin and the Gypsy, and The Rocking-Horse Winner.

What's your thoughts? Join the conversation by commenting
We make sure to reply to every comment submitted, so feel free to join the community and let us know by commenting below.

Get more Poetry Analysis like this in your inbox

Subscribe to our mailing list and get new poetry analysis updates straight to your inbox.

Thank you for subscribing.

Something went wrong.

  • Avatar Alan Cooke says:

    Hello Julietta.

    Your analysis is basically sound, but there are things you don’t pick up: ‘pressing the feet’ means that the child is holding the feet of his mother as she operates the piano pedals, therefore assisting her; ‘betrays’ and ‘weeps’ express a reluctance, an unwillingness to be unmanned, as he is in the last stanza (‘my manhood is cast down’). In his poetry and his novels there is an interplay between Lawrence’s masculinity (something he was always a bit uncertain about) and his feminine side (something that made him a bit nervous).

    • Lee-James Bovey Lee-James Bovey says:

      Thank you Alan, that is a really interesting insight! Want a job? Come write for us!

  • Do NOT follow this link or you will be banned from the site!
    Scroll Up
    Send this to a friend