the speaker sneers at and describes as merely one of the many ‘masquerades’ of city life. He believes that the lives these city dwellers live are a pretence – they are simply going through the motions. Even his description of people pulling their blinds, almost in unison, sounds theatrical: ‘One thinks of all the hands/ That are raising dingy shades/ In a thousand furnished rooms.’ There is a sense that the hands pulling the blinds do not belong to individuals, and that no one in this city has their own life. The speaker sees them as being all the same.
PART III
This section of the poem describes a woman, who may or may not be a prostitute, – this is highly engaging, as it feels as if the poet is talking directly to the reader. A series of verbs emphasises the woman’s agitation as she throws off her covers and waits for the night to be over: ‘You tossed a blanket from the bed,/ You lay upon your back, and waited; You dozed’. Even when the woman dozes off, it is only to watch ‘the night revealing/ The thousand sordid images/ Of which your soul was constituted’. We don’t know whether the sordid images describe what she has to endure as a prostitute, or if she is simply remembering the awful things she has experienced in her ‘against the ceiling’ suggests that they are memories. The ceiling is a kind of screen where the woman watches the scenes believed that the soul was formed by the memory of images projected onto the passive mind. When the speaker says that her soul is made up of these kinds of images, it