The Bridge of Sighs / Thomas Hood

SS undefined

"The Bridge of Sighs" is a famous poem of 1844 by Thomas Hood concerning the suicide of a homeless young woman who threw herself from Waterloo Bridge in London.

Although Thomas Hood (1799-1845) is usually regarded as a humorous poet, towards the end of his life, when he was on his sick bed, he wrote a number of poems commenting on contemporary poverty. These included "The Song of the Shirt", "The Bridge of Sighs" and "The Song of the Labourer". "The Bridge of Sighs" is particularly well-known because of its novel meter, complex three syllable rhymes, varied rhyming scheme and pathetic subject matter.

The poem describes the woman as having been immersed in the grimy water, but having been washed so that whatever sins she may have committed are obliterated by the pathos of her death.

The poem

 * The Bridge of Sighs

One more Unfortunate, Weary of breath, Rashly importunate, Gone to her death!

Take her up tenderly,      5 Lift her with care; Fashion'd so slenderly Young, and so fair!

Look at her garments Clinging like cerements;      10 Whilst the wave constantly Drips from her clothing; Take her up instantly, Loving, not loathing.

Touch her not scornfully;      15 Think of her mournfully, Gently and humanly; Not of the stains of her, All that remains of her Now is pure womanly. 20

Make no deep scrutiny Into her mutiny Rash and undutiful: Past all dishonour, Death has left on her       25 Only the beautiful.

Still, for all slips of hers, One of Eve's familyâ€” Wipe those poor lips of hers Oozing so clammily. 30

Loop up her tresses Escaped from the comb, Her fair auburn tresses; Whilst wonderment guesses Where was her home? 35

Who was her father? Who was her mother? Had she a sister? Had she a brother? Or was there a dearer one       40 Still, and a nearer one Yet, than all other?

Alas! for the rarity Of Christian charity Under the sun! 45 O, it was pitiful! Near a whole city full, Home she had none.

Sisterly, brotherly, Fatherly, motherly        50 Feelings had changed: Love, by harsh evidence, Thrown from its eminence; Even God's providence Seeming estranged. 55

Where the lamps quiver So far in the river, With many a light From window and casement, From garret to basement,       60 She stood, with amazement, Houseless by night.

The bleak wind of March Made her tremble and shiver; But not the dark arch,       65 Or the black flowing river: Mad from life's history, Glad to death's mystery, Swift to be hurl'dâ€” Anywhere, anywhere        70 Out of the world!

In she plunged boldlyâ€” No matter how coldly The rough river ranâ€” Over the brink of it,       75 Picture itâ€”think of it, Dissolute Man! Lave in it, drink of it, Then, if you can!

Take her up tenderly,       80 Lift her with care; Fashion'd so slenderly, Young, and so fair!

Ere her limbs frigidly Stiffen too rigidly,      85 Decently, kindly, Smooth and compose them; And her eyes, close them, Staring so blindly!

Dreadfully staring       90 Thro' muddy impurity, As when with the daring Last look of despairing Fix'd on futurity.

Perishing gloomily,        95 Spurr'd by contumely, Cold inhumanity, Burning insanity, Into her rest.â€” Cross her hands humbly       100 As if praying dumbly, Over her breast!

Owning her weakness, Her evil behaviour, And leaving, with meekness,       105 Her sins to her Saviour!

Illustrations
The poem was widely anthologised and frequently illustrated in books of Victorian poetry, including an etching by Sir John Everett Millais in 1858. It was also set to music by Reinhold Ludwig Herman (1849-1919). Along with Hood's other notable serious poem, The Song of the Shirt, it influenced several Victorian artists. Paintings inspired by the poem included Augustus Egg's Past and Present, Abraham Solomon's ''Drowned! Drowned! and G.F. Watts's Found Drowned''. The poem was also illustrated in a bas-relief on Hood's tomb.