Literary Allusions: Taylor’s Lyrical Odes to the Classics

Storytelling Prowess

Across the vast and diverse expanse of the contemporary music scene, there exists an artist whose creative output far exceeds the boundaries of her genre. That artist is Taylor Swift, a pop culture icon known for her deft lyricism and compelling storytelling abilities. Her artistry goes beyond catchy tunes and radio-friendly hits; it navigates the intricate channels of literary allusions and intellectual exploration. Throughout her extensive discography, Taylor has often engaged with works of literature, incorporating them into her songs in ways that redefine their themes within a modern context. Even before she was casually evoking Brontë and Eyre on Midnights, she was provocative Gatsby devotee with a penchant for Frost and Plath.

We seek to explore these literary references and trace the golden threads that weave Taylor's songs and the world of literature together. Here we will attempt to delve into the depths of Taylor's discography, exploring her intersections with great authors from various ERAS and multiple genres – from Nathaniel Hawthorne and Charles Dickens to J.M. Barrie and F. Scott Fitzgerald, from Sylvia Plath and Charlotte Brontë to Emily Dickinson.

Taylor is revered for her storytelling prowess. Her songs paint vivid pictures with words, and many listeners revel in the poignancy of her lyrics. But not everyone may be aware of the depth and literary influences that often permeate her work. Although Taylor’s folklore album is well known as a treasure trove of literary allusions, from J.M. Barrie's "Peter and Wendy" to William Wordsworth’s Romantic poetry, she was actually a prolific reader prior to the pandemic.

part one: debut to 1989

The Outcast

Taylor was marked at an early age by Robert Frost’s “The Road Not Taken”. She weaves in references to it one of her earliest songs called “The Outcast.” Twenty years later she’s still marked by the poem and it shows up in folklore. We can see the early impact in ‘The Outcast,’ as she sings, “I tried to take the road less traveled by / But nothing seems to work the first few times.” This reflects her experience of feeling like an outcast and the challenges she faced in finding her path.

Pablo Neruda's Influence in "Red"

In the liner notes for her album "Red," Taylor Swift includes a quote from the renowned Chilean poet Pablo Neruda: This poignant quote resonates with the themes of fleeting love and lingering heartbreak that permeate the album. The choice of Neruda's words as subtext further underlines the depth and poignancy of love’s ephemeral nature and its lingering aftermath.

Another's. She will be another's. As she was before my kisses.
Her voice, her bright body. Her infinite eyes.

I no longer love her, that's certain, but maybe I love her.
Love is so short, forgetting is so long.

Neruda's notion of love being 'so short' and forgetting being 'so long' echoes in Taylor's tracks, especially in songs such as "All Too Well," "I Almost Do," “WANGBT” and "The Moment I Knew." These songs explore the painful process of moving on from someone, the lingering feelings of love, and the haunting memories that make the act of forgetting so challenging.

Neruda's assertion of 'maybe I love her' also plays into Taylor's exploration of the indecisiveness and confusion that often follow a breakup. This sentiment finds echoes in Taylor's lyrics, especially in songs like "Red" and "I Knew You Were Trouble," where she oscillates between love and resentment, unable to let go entirely.

Love Story

Taylor's songwriting skill is demonstrated in her lyrical rendering of key scenes from Shakespeare's play. For instance, the famous balcony scene is painted with the lyrics "And I was crying on the staircase/Begging you 'please don’t go'/So I sneak out to the garden to see you/We keep quiet 'cause we’re dead if they knew." Here, the anguish of their forbidden love is palpable, reflecting the poignant emotions of Romeo and Juliet's clandestine meetings.

Similar to Radiohead’s Exit Music for a film, yet with a twist all her own, the scene of Romeo and Juliet's hasty marriage is beautifully reimagined with a modern twist in Taylor's version. She sings, "He knelt to the ground and pulled out a ring and said/'Marry me, Juliet. You'll never have to be alone/I love you, and that's all I really know/I talked to your dad. Go pick out a white dress/It's a love story. Baby, just say 'Yes'." Here, she introduces traditional symbols of modern weddings like a white dress and a ring, not found in the play, hence subtly infusing her contemporary perspective.

Reputation

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"End Game," an irresistible anthem from the Queen of Modern Songwriting's eponymous sixth studio album "Reputation," provides an aural examination of her public image. Taylor Swift repeatedly alludes to the magnitude of the personas she and her partner have cultivated in the line, "Big reputation, big reputation / Ooh, you and me, we got big reputations, ah." She further acknowledges her public adversities in the lyric, "And you heard about me, ooh / I got some big enemies," a concept that parallels Shakespeare's commentary on reputation. As illustrated by the Bard, in Othello reputation can often be acquired "without merit, and lost without deserving," a sentiment echoed in her lyrics, acknowledging the vulnerability of one's image to external threats.

Analysing her lyrics in the context of classic literature offers intriguing parallels. Shakespeare's portrayal of reputation, as voiced in Othello's lament, "Reputation, reputation, reputation! O, I have lost my reputation! I have lost the immortal part of myself, and what remains is bestial," resonates with Taylor's experiences, particularly during the public dispute with Kim Kardashian and Kanye West.

Shakespeare's Richard II further explores the concept, describing reputation as "The purest treasure mortal times afford / Is spotless reputation; that way, / Men are but gilded loam or painted clay." These lines parallel Taylor's own journey, where her reputation was seemingly swept away. Yet, in the aftermath of this upheaval, Margaret Mitchell's wisdom, "Until you've lost your reputation, you never realize what a burden it was or what freedom really is," holds true. The loss of reputation has granted her newfound freedom, enabling her to redefine herself without the constraints of public expectations. This produces a rebirth and reinvention. Interestingly, the mention of the Ouroboros in the LWYMMD lyric video adds another layer to this symbolism. Originating in Ancient Egypt, the snake of the Ouroboros eternally consumes and regenerates itself, suggesting she continues to evolve and revitalize her image and music.

The observation from Emily Bronte's "Wuthering Heights," "By this curious turn of disposition, I have gained the reputation of deliberate heartlessness; how undeserved, I alone can appreciate," aptly describes Taylord's predicament. Like Bronte's character, she has been accused of being cold-hearted and manipulative, an assessment she alone understands to be unjust.

"Look What You Made Me Do" and "Hamlet"

The song "Look What You Made Me Do" by and William Shakespeare's play "Hamlet" share an intriguing exploration of self-transformation following personal trauma. In each, the protagonists are driven to reshape their identities as they confront the unsettling events that have disrupted their lives.

Though the two have long since buried the longsword, the symbolic use of medieval imagery in Katy Perry's lyrics from “Swish Swish” might have been a key influence in Taylor's lyricism in "Look What You Made Me Do." Perry's assertion, "And I’m a courtside killer queen / And you will kiss the ring," casts herself as a reigning queen and presents a metaphorical narrative of power and dominance in the music industry.

The line "You'll all get yours" carries a tone of retribution and justice, reinforcing the theme of vengeance that is also prevalent in Hamlet. It underscores Taylor's determination to confront those who have wronged her and assert her narrative, just as Hamlet eventually avenges his father's murder."Honey, I rose up from the dead, I do it all the time," she asserts, referencing her recurring capacity to rebound and transform after various public disputes and setbacks, such as her feuds with Katy Perry and Kanye West.

Taylor seems to respond directly to this medieval imagery with the line, "I don't like your kingdom keys. They once belonged to me," suggesting Perry's apparent reign in the music industry was built on Taylor's absence. This narrative of stolen power resonates with Hamlet's story, where Claudius seizes the throne that once belonged to Hamlet's father.

Further deepening this parallel, Taylor re-released her music on Spotify the same day Perry's album "Witness" dropped, reclaiming her presence on the music charts. Like Hamlet, who counters Claudius's usurpation by directly confronting him, Taylor counters Perry's supposed reign by reasserting her presence in the music world.

The lyrics and the visual narrative of the music video for "Look What You Made Me Do" present a multifaceted exploration of betrayal and reclamation of power. Taylor's assertion that "the old Taylor can't come to the phone… she's dead" signals her rebirth and determination to confront those who have wronged her. The carving of "Et tu, Brute?" into her hand rest in the music video reflects a clear link to Julius Caesar's infamous betrayal by his friend Brutus.

The transformation Taylor undergoes mirrors that of Hamlet, who, after witnessing Fortinbras's fearless determination, resolves to avenge his father's murder, casting off his previous indecisiveness. "I will not let that sleep," he asserts, mirroring Taylor's commitment to not stand idle in the face of betrayal and conflict. She embodies the spirit of Julius Caesar reborn like a phoenix, or eternal like the Egyptian snake, confronting her perceived betrayals head-on, just as Hamlet confronts Claudius, and Caesar his assassins.

The line "you locked me out and threw a feast" seems to be an indictment of those who took advantage of her hiatus to celebrate their success, potentially tying in with her feud with Perry. The music video for Perry's "Bon Appétit" showcases her being served as a feast, providing a fitting visual metaphor for Taylor's lyrics. Taylor seems to suggest that while she was locked out—absent from the music scene—others were feasting—benefiting from her absence.

“This Is Why We Can't Have Nice Things" and The Great Gatsby

"This Is Why We Can't Have Nice Things," a track that opens with a picture of grandeur, hedonism, and seemingly unlimited luxury, reminiscent of Fitzgerald's celebrated novel "The Great Gatsby." Taylor's specific mention of "Feeling, so Gatsby for that whole year" serves to establish a direct link between her song's milieu and the opulent atmosphere of Gatsby's Jazz Age New York.

The 1920s New York City of "The Great Gatsby" was marked by an atmosphere of exorbitant wealth, free-flowing alcohol, and rampant self-indulgence, setting the stage for the economic collapse of 1929. Gatsby, the book's enigmatic protagonist, epitomizes this culture of excess. His lavish, hedonistic parties, where guests were free to engage in unrestrained indulgence, were legendary.

When Taylor comments about the song, she expresses how it explores the concept of people taking "nice things" for granted – friendship, trust, openness, and respect. In much the same way that Gatsby's generosity and openness were disregarded by his so-called friends, Taylor's experiences reveal a parallel narrative. Her generosity was met with skepticism, her openness was returned with betrayal, and her trust was shattered.

This theme of deception is reflected aptly in Taylor's song. Her lyric "Feeling so Gatsby for that whole year" encapsulates not only the outward glamour but also the underlying betrayal. The song portrays her experience with a false sense of security, shaped by the dazzling illusion of fame and companionship. She speaks of a betrayal, metaphorically describing being stabbed in the back, indicating that she, like Gatsby, was deceived by the glittering artifice of her environment.

“Don't Blame Me" and the Great Gatsby

We remain with Fitzgerald, delving into the epic narrative of Taylor's "Don't Blame Me," a track that lyrically paints another transformation and look behind the facade. Taylor’s self-identification as "your daisy" in "Don't Blame Me" is a multilayered statement. On the surface, it indicates a transformation from being 'poison ivy' - an allusion to a harmful, toxic presence - to 'daisy,' a symbol of purity and innocence. However, when seen through the lens of "The Great Gatsby," it takes on a deeper significance.

Taylor, akin to Daisy, has often been placed on a pedestal, idolized and romanticized, much like how Gatsby idolizes Daisy. She's been the 'golden girl' of the music industry, her name synonymous with success. However, just like Daisy, she too has experienced the pressure and the disillusionment that come with the golden image. Taylor's music industry struggles, particularly her fight for her masters, echo the darker side of the gilded world Daisy inhabits.

Moreover, Taylor's characterization of herself as 'daisy' could also hint at the power dynamics in relationships. Daisy, despite her seemingly docile persona, wields considerable power over Gatsby. His love for her is his downfall. Her assertion, "now I'm your daisy," could be an exploration of the power she holds in the relationship she's singing about. In addition to this, Taylor's work often explores the theme of the illusion of innocence and the loss thereof. This aligns with Daisy's character, who appears innocent and pure but is ultimately revealed to be self-serving and reckless.

“So It Goes...", "Look What You Made Me Do” and Slaughterhouse-Five

It's essential to discuss the implications of the track "So It Goes..." Borrowing a phrase from Kurt Vonnegut's famous work "Slaughterhouse-Five," Taylor incorporates a potent literary motif into her own narrative. The usage of "so it goes" by Vonnegut is a recurrent theme signifying death, reinforcing a Tralfamadorian concept of time where death is not a tragic end but merely a different state of existence. This reference serves to deepen the impact of her narrative, merging the literary motif with her own story of metamorphosis.

This particular element resonates with Taylor's artistry in "Reputation," where she confronts her own metaphorical death. Following the crucifixion scene and death imagery in "Look What You Made Me Do" video, her declaration of the old Taylor's death hints at a transformation. It's a rebirth of sorts, a shedding of previous identities in favor of a new persona, which is explored further in "So It Goes..."

Much like Billy Pilgrim in "Slaughterhouse-Five," who grapples with the trauma of his past, Taylor also presents herself in a period of isolation and emotional turmoil during the "Reputation" era. Her lyrics in "So It Goes..." such as "Cut me into pieces / Gold cage, hostage to my feelings," reflect a sense of entrapment and powerlessness, underscoring the loneliness and misunderstanding that comes with public vilification.

Look What You Made Me Do" and Sylvia Plath’s verses in "Lady Lazarus"

This compelling juxtaposition between Taylor Swift’s lyrics in "Look What You Made Me Do" and Sylvia Plath’s verses in "Lady Lazarus" and "The Applicant" presents a powerful exploration of the transformation of women under the male gaze. In both Taylor’s song and Plath’s poems, women transform from victims to victors, from consumed to consumers, all the while maintaining a degree of self-awareness that serves to highlight the performative nature of their roles.

This transformation is embodied in Taylor’s chorus: “Ooh, look what you made me do/Look what you made me do”. As she delivers these lines, Taylor is shown in various exaggerated and fantastical scenarios, each one more surreal than the last. Much like Plath’s “living dolls” from “The Applicant”, these “fantasy girls” represent an exaggerated critique of the roles women are expected to play in society.

In the refrain, Taylor asserts her resilience, echoing Lady Lazarus’s claim: “Dying/Is an art, like everything else/I do it exceptionally well”. Taylor boasts: “But I got smarter, I got harder in the nick of time/Honey, I rose up from the dead, I do it all the time.” Both women are no longer passive victims, but active participants who are able to turn their hardships into strengths.

As Lady Lazarus turns the tables on the "peanut-crunching crowd" by monetizing her trauma, Taylor is also depicted flipping the script on her critics. The line, “I’ll be the actress starring in your bad dreams”, highlights Taylor's newfound power and control over her narrative.

Finally, the concluding sequence of Taylor’s video, where fourteen versions of the artist appear, is particularly striking. It can be seen as a representation of the diverse female identities one woman can possess, similar to the multitude of female figures found in Plath’s poetry, (queen, lioness, Godiva, murderess, etc). This diverse cast, though seemingly at odds, speaks to the complexity and multifaceted nature of womanhood. It reinforces the message of both Taylor and Plath’s works: women are not one-dimensional beings to be consumed, but complex individuals capable of transformation and resilience.

"Getaway Car" and the Shadows of "A Tale of Two Cities"

One of the standout tracks from Taylor Swift's "Reputation" album, "Getaway Car", is replete with intense imagery and narrative that resonates deeply with Charles Dickens’ "A Tale of Two Cities". The classic novel portrays a character willing to make the ultimate sacrifice for the one they love, which aligns with the desperate, romantic narrative of "Getaway Car".

The song’s opening line, “It was the best of times, the worst of crimes,” immediately evokes Dickens’ iconic opening in "A Tale of Two Cities": “It was the best of times, it was the worst of times…”. This line lays the foundation for the theme of duality in both the song and the novel.

In "Getaway Car," Taylor Swift sings, "We never had a shotgun shot in the dark," indicating the inevitable end of a relationship started on a whim or in haste. The song is a narrative about a passionate and spontaneous love affair, much like the star-crossed romance between Charles Darnay and Lucie Manette in Dickens' "A Tale of Two Cities." Both narratives underscore the idea that decisions made in haste or under pressure can often lead to heartbreak and disappointment.

The getaway car, a symbol of a hurried escape, mirrors the tumultuous environment and quick decisions made by the characters in Dickens' novel. In the wake of the French Revolution, the characters must make quick and significant choices about their loyalties and actions. Taylor's iconic song captures a similar urgency and desperation as the singer decides to leave an unfulfilling relationship, describing, "I'm in a getaway car / I left you in a motel bar / Put the money in a bag and I stole the keys / That was the last time you ever saw me."

Moreover, both Taylor and Dickens portray characters that are neither wholly good nor bad. In "Getaway Car," Taylor takes on a role of a person who betrays her lover to escape, depicting her own character flaws. Similarly, in "A Tale of Two Cities," characters like Sydney Carton are deeply flawed but capable of great self-sacrifice and love.

In the same vein, both narratives complicate the notion of love. Taylor's song suggests that love can sometimes be selfish or reckless, much like the love between Lucie and Charles, which ultimately leads to Sydney's sacrifice. In both works, love is neither purely blissful nor wholly destructive but a complex, multifaceted emotion that can lead to both joy and suffering. "Getaway Car" and Dickens' "A Tale of Two Cities" parallel each other in their exploration of the complexities of human nature, love, and decision-making. Both works delve into the gray areas of human behavior and emotions, challenging the binary perception of good versus evil and offering a more nuanced understanding of human experiences.

1989

“Blank Space,” "New Romantics" and the Echoes of "The Scarlet Letter"

In "New Romantics," Taylor seems to be engaged in a dialogue with Hawthorne's "The Scarlet Letter," drawing on the narrative's underlying themes to underscore her experiences in the public eye. The song's refrain, "We are too busy dancing to get knocked off our feet," could be seen as a symbolic nod to Hester Prynne's resilience in the face of her puritanical society's scorn.

The parallel between Hester Prynne and Taylor extends beyond the initial connection of being judged harshly by society. Just as Hester reshapes her narrative by transforming the meaning of the Scarlet Letter from a symbol of shame to one of resilience, Taylor has crafted her narrative within the music industry. She flips the script on the media's portrayal of her, using her songwriting as a platform to reclaim her story and dismiss the critiques thrown at her.

By choosing to engage with her portrayal in the media and the public's perception of her, Taylor mirrors Hester's audacity to live unabashedly despite societal judgment. In "Blank Space," she uses irony to highlight the absurdity of her portrayal in the media, subverting expectations and taking control of her narrative. Like Hester, she turns the intended symbol of shame — in this case, the media's criticism — into a source of power.

Furthermore, her assertion in "New Romantics" that she finds strength in living her life authentically, despite criticism, shows Taylor's understanding of the value of individuality. This perspective parallels Hawthorne's exploration of the individual versus society in "The Scarlet Letter."

Taylor's music is not just a platform for sharing her experiences; it is also a space where she can engage in broader societal conversations. By drawing comparisons to literature like "The Scarlet Letter," she effectively contextualizes her experiences within a larger historical and cultural narrative, ultimately encouraging listeners to question societal norms and expectations. In this way, she takes on a modern-day Hester Prynne role, challenging societal assumptions and redefining her narrative through her music.

"Wonderland" and its Connection to “Alice's Adventures in Wonderland”

Taylor Swift's "Wonderland" is heavily inspired by Lewis Carroll’s “Alice's Adventures in Wonderland”. Taylor uses “falling down the rabbit hole,” which leads Alice to the whimsical world of Wonderland, as an extended metaphor for the disorientation, surprises, and challenges faced in a relationship. Much like Alice’s journey, Taylor portrays the initial phase of love as enchanting and bewildering. This fantasy-infused allegory is a testament to Taylor’s ability to juxtapose classic literature with modern themes in love and relationships.

The Cheshire Cat, with his unsettling grin, becomes a symbol of the charming but elusive individual who, despite their enchanting aura, causes confusion and frustration. Taylor finds herself in a similar situation with her ex-lover. Much like Alice, she became perplexed and frustrated by the Cat's riddles and seemingly enigmatic behavior, she emotes that she became, “too in love to think straight" and states that "we both went mad."

Performing this as a surprise song during the recent Eras Tour, Taylor elaborated on the metaphor of the rabbit hole, explaining it as a descent into madness driven by love. This is particularly true when one's partner bears similarities to the Cheshire Cat, as mentioned earlier. The delight in make-believe can be captivating, but it often leads to a harsh awakening like the song suggests.

"Wonderland" asks, "Haven’t you heard what becomes of curious minds?" or in other words, that curiosity frequently invites trouble. Another line, "Didn’t you calm my fears with a Cheshire Cat smile?" relates back to the builds on this. Lines like "Too In Love to think straight...", "We both went mad...", and "It’s all fun and games till somebody loses their mind" further emphasize the theme of love-induced insanity.

The song "Long Story Short" by Taylor, revisits the rabbit hole metaphor from "Wonderland." In this song, she appears to double down even more on the consequences of "falling," with lyrics like, "And I fell from the pedestal, Right down the rabbit hole, It was a bad time."

In "Long Story Short," Taylor continues her exploration of the "rabbit hole" metaphor initially brought to life in "Wonderland." Just as Alice falls into a realm of uncertainty, chaos, and insanity in Lewis Carroll's novel, Taylor describes her own descent in love, marked by a similar disarray. This connection aligns with her broader discourse about the destabilizing effects of romantic entanglements, framing love as a journey that can lead one into a labyrinth of emotional turmoil.

The lyrics, "And I fell from the pedestal, Right down the rabbit hole, It was a bad time," evoke an image of Taylor being dethroned from her own sense of self, tumbling into an abyss of chaos and despair — a sentiment that mirrors Alice's disorienting tumble down the rabbit hole. This compelling metaphor serves to illustrate Taylor's emotional and mental state during a tumultuous period of her life, reflecting on how the impact of a toxic relationship can lead to an identity crisis.

"Bad Blood”

Indeed, traces of Shakespeare's "Julius Caesar" can be found in Taylor's "Bad Blood," a testament to the enduring influence of the Bard on her work. As Taylor's favorite Shakespearean play, "Julius Caesar" provides a rich context of friendship, betrayal, and conflicting loyalties, which she masterfully translates into the modern pop landscape.

"Julius Caesar" tells the story of Brutus' betrayal of his friend Caesar, driven by his belief that he is serving the greater good. This intricate interplay of personal ties and political motivations echoes through "Bad Blood," a song about the wreckage of a once-close friendship. As Brutus Taylorly pivots to conspire against Caesar, the treachery that Taylor sings about in "Bad Blood" seems to draw a parallel. In both narratives, the characters feel a sense of surprise and betrayal as those they trusted turn against them.

Moreover, both narratives share a certain dramatic intensity. Just as Brutus' quick decision to join the conspiracy against Caesar adds a snappy energy to the unfolding tragedy, the brisk tempo and resolute lyrics of "Bad Blood" lend a comparable dynamism to Taylor's song.

The line from "Bad Blood" — "Did you have to do this? I was thinking that you could be trusted" — could very well have been Brutus's lament, underscoring the shared theme of violated trust. Similarly, Taylor’s assertion that "band-aids don’t fix bullet holes" harks back to the mortal wounds inflicted upon Caesar, a vivid reminder of the irreparable damage betrayal can cause.

Additionally, the high-stakes drama and public spectacle of Caesar's murder, which sets off a brutal power struggle in Rome, find their modern counterpart in the media-fueled feuds of today's entertainment industry. Taylor, who has often been at the center of such public disputes, channels this atmosphere of escalating conflict and ensuing chaos into "Bad Blood."

part three: pandemic era

folklore

"Illicit Affairs" and Echoes of Robert Frost’s “The Road Not Taken”

In her song “Illicit Affairs” from the album "Folklore", Taylor Swift explores the complications and emotional journey of an extramarital affair. The lyrics, “What started in beautiful rooms, ends with meetings in parking lots” indicate the decline of an initially passionate relationship into something secretive and hollow.

This progression mirrors the themes in Robert Frost’s poem “The Road Not Taken”. The poem is famous for its depiction of the speaker standing at a fork in the road, symbolizing the choices we face in life. Taylor’s song can be interpreted as an allusion to the road not usually taken - the one that is tempting but full of unknown consequences.

The duality of Frost’s poem is reflected in Taylor’s song as well, which can also be interpreted in the traditional sense, as a nod to taking a path with limitless possibilities. However, as the song progresses, it becomes clear that this path, though initially enticing, leads to a loss of innocence and an entanglement the protagonist didn’t expect. It’s worth mentioning that "Illicit Affairs" is also part of the love triangle narrative in the "Folklore" album, making it multi-dimensional in its depth and adding another layer to its connection with “The Road Not Taken” and the loss of “Innocence".

Peter Pan and Lost Innocence in “Cardigan”

A centerpiece of the trilogy, in "Cardigan," Much like the characters in J.M. Barrie's "Peter and Wendy," the characters in "Cardigan" experience a profound transformation that comes with the loss of innocence and the passage from childhood to adulthood.

The reference to Peter losing Wendy is a masterful move by Taylor. In Barrie's novel Peter Pan, the boy who never grows up, loses Wendy when she chooses to return to London, embracing adulthood and leaving Neverland - and her childhood love for Peter - behind. Similarly, Betty, in "Cardigan," experiences a loss of innocence as she navigates the complexities of her relationship with James, who betrays her, leading her to feel older and more mature. This is evident in the lines, "I knew you'd miss me once the thrill expired / And you'd be standin' in my front porch light / And I knew you'd come back to me."

Taylor sings, "When you are young, they assume you know nothing." This line captures the dismissal of young people's experiences and feelings, paralleling how Wendy and her brothers' adventure in Neverland is often dismissed as a dream. Similarly, Taylor's protagonist, Betty, feels dismissed in her love for James. The adults around her consider her feelings as typical teenage emotions, failing to understand the depth and the complexity of her love.

The cardigan in Taylor's song is a symbolic object, much like Wendy's thimble in Barrie's novel. Just as Wendy's thimble represents her affection for Peter, Betty's cardigan symbolizes her relationship with James. When Betty sings, "And when I felt like I was an old cardigan / Under someone's bed / You put me on and said I was your favorite," the sense of being cherished and then forgotten mirrors Wendy's experience with Peter, who cherishes her but eventually forgets her when she grows up.

Literary Inspirations: Rebecca and Tolerate It

Taylor’s song “Tolerate It”, from her “Evermore” album, showcases her literary affinities. The song draws inspiration from Daphne du Maurier’s 1938 novel, and Hitchcock classic “Rebecca." The novel portrays the plight of a young woman married to the distant and haunted Maxim de Winter. Taylor’s lyrics mirror this dynamic, capturing the raw essence of unrequited affection and emotional endurance. Though the song ends on an ambiguous note, much like the novel's protagonist, Taylor’s character survives her tribulation.

In "Tolerate It", Taylor takes on the complex role of the second Mrs. De Winter from Daphne du Maurier's novel "Rebecca", exploring the intricacies of the protagonist's struggle for self-definition. This parallels du Maurier's narrative, in which the second Mrs. De Winter's identity is consistently overshadowed by her predecessor, Rebecca. Taylor manages to capture this struggle for self-affirmation in her lyrics, exhibiting an understanding of the novel's thematic underpinnings.

The lyrics of the song detail a narrative of someone trying to gain the acknowledgment of their significant other, a reflection of the second Mrs. De Winter's perpetual quest to be seen and recognized by her husband Maxim. Through the lyrics, "I sit and watch you reading with your head low / I wake and watch you breathing with your eyes closed / I sit and watch you, I notice everything you do or don't do / You're so much older and wiser and I", Taylor paints a portrait of the protagonist's internal turmoil as she grapples with her sense of self amidst her husband's disinterest and indifference.

In this song, Taylor mirrors the uncertainty and discomfort that the protagonist in "Rebecca" experiences in her new life, using the novel's themes to navigate her exploration of power dynamics within relationships and the longing for recognition. The recurring line, "I wait by the door like I'm just a kid" further emphasizes the protagonist's yearning for attention and validation.

Just as the second Mrs. De Winter fights to assert her individuality in "Rebecca", so too does Taylor in her musical career, asserting her autonomy amidst a music industry that often diminishes and overlooks the identities of female artists. The song "Tolerate It" comes to signify not only a narrative of a struggling woman but also a statement on Taylor's personal evolution. As she writes, "I'm no longer the tearful girl in the dress heading home", she boldly rejects the passive identity imposed on her, much like the second Mrs. De Winter strives to do in the novel.

Strings of Fate in “Invisible String”

"Invisible String" from her "Folklore" album. The track encapsulates the intertwining fates of two individuals, symbolized by an invisible string. This notion is reminiscent of the profound connection described by Mr. Rochester in Charlotte Brontë's "Jane Eyre". When he confesses, “I have a strange feeling with regard to you. As if I had a string somewhere under my left ribs, tightly knotted to a similar string in you,” it underscores an inseparable bond, a destiny that ties two hearts together inextricably. Taylor's use of the string metaphor captures this deep, almost mystical sense of connection.

Furthermore, the echo of Ernest Hemingway's "The Sun Also Rises" in the song's chorus underlines the delicate boundary separating dreams from reality. In Hemingway's novel, the protagonist Jake's wistful dialogue encapsulates the tragic impossibility of his love for Brett. This heart-rending reality, contrasted against their idealistic dreams, forms a poignant echo in the chorus of "Invisible String." Taylor's lyrics carry the sentiment of longing and the fragile beauty of ephemeral moments, resonating with the quiet despair and unfulfilled dreams in Hemingway's narrative.

Fury in “mad woman”

In her song "Mad Woman", Taylor Swift explores a woman's fury that is, at its core, a reaction against an oppressive societal framework, echoing both George R. R. Martin's "Game of Thrones" (see future article for more later) and yet also Charlotte Brontë's "Jane Eyre". The intersection of these two contrasting narratives, one of medieval fantasy and the other rooted in 19th-century realism, enriches the layers of meaning in Taylor's lyrics and further illuminates her understanding of the social dynamics at play.

The mention of Bertha Mason from "Jane Eyre" – a woman deemed 'mad' and confined to an attic by her husband, Rochester – draws stark parallels with the scorned women in Taylor's song. Bertha, misunderstood and dismissed, is the embodiment of a 'mad woman' in society's eyes, reinforcing the double standards and gender biases that permeate Brontë's time, and sadly, persist today. Rochester's readiness to marry Jane, disregarding his marital obligations to Bertha, underscores the deeply entrenched patriarchal norms where women's emotions are often trivialized or pathologized.

In the same vein, Taylor's song suggests that women who defy societal expectations, like Bertha, are easily vilified or reduced to one-dimensional stereotypes – 'mad', 'dramatic', or 'man-eater'. Taylor's critique is both timeless and timely, addressing the constant pressure on women to conform to societal expectations and the backlash they face when they don't. Taylor's "Mad Woman" thus becomes an anthem of defiance, a critique of the patriarchy that continues to box women into restrictive stereotypes. It's an exploration of the societal 'madness' that unjustly labels women as 'mad'. Through this song, Taylor gives voice to all 'mad' women, providing a powerful commentary on the double standards and gender biases that persist in our society, whether it's in the world of Westeros, the confines of Thornfield Hall, or the music industry. Taylor's lyricism, laced with literary and pop culture references, underlines her commitment to shedding light on these universal themes,

Sylvia Plath’s Shadows in “Mirrorball”

In her poem "Lady Lazarus," Sylvia Plath portrays the rebirth of the protagonist, an event enacted again and again to the astonishment of the audience, an exploitative and voyeuristic crowd. In her lyric "It's the theatrical / Comeback in broad day / To the same place, the same face, the same brute / Amused shout: / 'A miracle!' / That knocks me out," Plath encapsulates the drama and spectacle of survival in a society that often expects or even romanticizes self-destruction.

Plath's powerful depiction of resilience and rebirth finds a contemporary echo in Taylor's "Mirrorball," A familiar well for the phoenix songstress (see also her most recent ‘You’re Losing Me’). Mirror itself paints a picture of Taylor as a performer under constant scrutiny, a mirrorball reflecting the desires and expectations of the audience. Her lyrics, "I'm a mirrorball / I'll show you every version of yourself tonight," speak to the performative requirements of being under the public gaze, much like Lady Lazarus.

Moreover, Taylor goes a step further with "they found me on the floor / they burned the disco down," conveying a sense of destruction and loss, yet also indicating a resilient return. Like Lady Lazarus, who "rises" from the ashes every time, Taylor, too, comes back from every downfall. The "burning" of the disco signifies an end, but also a purification and rebirth, similar to how Plath's protagonist asserts herself after each resurrection.

Both Taylor and Plath articulate the tension of existing within a society that is quick to judge and define, a society that often seems eager to watch them fall. Yet, despite these obstacles, both artists project a defiant and empowering narrative of resilience, where they continually rise and recreate themselves in the face of adversity.

A Romantic Journey to “The Lakes”

It is evident that it seems to serve as a contemporary resurgence of Romanticism, a notion Taylor herself hints at in her song, "The Lakes". English literature and Romanticism expert, Professor Sir Jonathan Bate, identifies Wordsworth as "the first poet to write elegies that eulogized himself." Taylor, striking a parallel, sings "Is it romantic how all my elegies eulogize me?" to open the song. Further along in the song, Taylor longs for "auroras and sad prose," while expressing her angst against the backdrop of the lakes and the Windermere peaks.

Wordsworth, in a letter dated 1791, made a similar reference, describing such a venture as an Aurora Borealis illuminating the prolonged melancholy night. The Lake District, where this scene unfolds, is renowned as the home to the Lake Poets, a group of writers that included William Wordsworth, Samuel Taylor Coleridge, and Robert Southey, later joined by William's sister, Dorothy Wordsworth. Despite the term being initially used disparagingly to describe these writers, the Lake District has proven to be a fertile ground for creative inspiration.

Taylor's chorus in "The Lakes" is a direct homage to these poets: "Take me to the lakes where all the poets went to die / I don’t belong, and my beloved, neither do you / Those Windermere peaks look like a perfect place to cry / I’m setting off, but not without my muse"

Taylor's reference to the lakes where the poets sought solace not only enriches her lyrics but also sparks curiosity. It seems as if these poets found the lake district not just a place to die but also a place to truly live. Taylor's following verse in "The Lakes," captures emotions that echo the sensibilities of the Romantic-era poets:

"What should be over burrowed under my skin /In heart-stopping waves of hurt / I've come too far to watch some namedropping sleaze / Tell me what are my words worth"

Ever coding her influences, she indeed went there with that last line. The Romantic poets, much like Taylor, had a unique way of expressing their deepest emotions and fears. They found solace in nature and, similarly, Taylor seeks inspiration from the same setting for her creative exploration. The Lakes is a placewhere Taylor can be her true authentic self, which is not something she finds often. Something she writes on often missing out on and wanting to have more often in her own life.

part three: Evermore and beyond

evermore

Echoes of Gatsby in Happiness

Another remarkable reference is in the song “Happiness”, which alludes to once again to Taylor’s seemingly favorite author F. Scott Fitzgerald’s “The Great Gatsby”. Taylor’s lyrics brim with symbols of longing, reminiscent of Gatsby’s unrelenting yearning for Daisy. The song captures the unraveling of a relationship and the consequent pursuit of healing. Taylor's lyrics “I hope she'll be a beautiful fool” borrows directly from Daisy’s dialogue in Gatsby.

Taylor's use of this quote mirrors her own longing for a simpler time, perhaps before her relationship disintegrated. It suggests an acknowledgment of the flawed reality, yet also a wishful thinking that things could've been less complicated, less painful. In this way, and also in ‘the lakes’ Taylor aligns herself with Daisy Buchanan, both yearning for a form of innocence and naiveté to shield from the harsh realities they've faced.

Furthermore, the lyric "All you want from me now is the green light of forgiveness" harkens back to the green light at the end of Daisy's dock in Fitzgerald's novel, which becomes a symbol of Gatsby's hopes and dreams for the future, particularly his longing for Daisy. Similarly, the "green light of forgiveness" in "Happiness" represents the desire for absolution and reconciliation following the end of a relationship, an echo of Gatsby's own yearning.

In these ways, Taylor skillfully invokes the spirit of Fitzgerald's narrative in her own storytelling. "Happiness," like "The Great Gatsby," is a poignant exploration of human emotions, hopes, and the painful process of healing after heartbreak. Taylor's thoughtful allusions to Fitzgerald's work further underscore her literary sensibility and showcase the depth and intricacy of her songwriting.

Ivy's Affection for Emily Dickinson

In "Ivy," Taylor Swift delves into the tumultuous realm of secret love affairs. The lyrics, saturated with floral imagery and evocative metaphors, echo the passion and anguish of an illicit romance. The song is rife with thematic overlaps with the life of Emily Dickinson, an American poet known for her emotionally intense poems and her speculated romantic relationship with her close friend, Sue Gilbert.

The protagonist of "Ivy" is a married woman grappling with an unexpected, yet intense attraction to someone else. This situation mirrors Dickinson's own life, wherein her close friendship with Gilbert - who was also her brother's wife - was purported to have developed into a romantic affair. Taylor's careful omission of the gender of the protagonist's lover has led to speculation about a possible sapphic undertone in the song, reminiscent of Dickinson's rumored relationship with Gilbert. This speculation is further substantiated by the song's inclusion in the Apple TV+ series "Dickinson," which explores the poet's life and relationships.

"Ivy" is a testament to Taylor's ability to incorporate elements of literary and historical narratives into her music, breathing new life into them. Taylor adopts the emotional intensity and layered symbolism characteristic of Dickinson's poetry, infusing these elements into her own narrative about illicit love. Taylor's lyrics encapsulate the complexity of the protagonist's feelings, capturing the exhilaration, guilt, and despair that accompany a clandestine love affair.

In her choice to leave the gender of the protagonist's lover ambiguous, Taylor deftly addresses the heteronormative assumptions that often dominate mainstream narratives. This ambiguous portrayal also pays homage to Dickinson, who was often oblique in her own depictions of love and desire in her poetry.

The connection between "Ivy" and Emily Dickinson's life further solidifies Taylor's place as a literary songstress. She subtly intertwines her musical narratives with references to literary figures and texts, broadening the depth and breadth of her storytelling. Through her work, Taylor invites her listeners to explore the multifaceted nature of human emotion and experience, echoing the rich complexity of the literary works that inspire her.

Nostalgia and Introspection in Evermore

The title track "Evermore" from Taylor Swift's album is steeped in literary reference and thematic complexity. This melancholic anthem about love and loss, despair and recovery, resonates with the emotional depth and intellectual rigour characteristic of the works of Emily Dickinson and Charlotte Brontë, two literary figures known for their exploration of the human condition.

Dickinson's poetic oeuvre often grapples with the theme of loss - whether it be the loss of innocence, love, or life. Similarly, in "Evermore," Taylor addresses the experience of loss and the subsequent longing for what once was. Her lyric, "This pain wouldn't be forevermore," is a testament to the human capacity to endure and overcome, a theme Dickinson frequently revisits in her poems. Taylor's exploration of these profound emotions brings to life the raw and often unspoken sentiments associated with loss, much like Dickinson's poetry.

Meanwhile, Taylor's lyric, "Writing letters addressed to the fire," draws a poignant parallel to Brontë's novel, "Jane Eyre." In one of the novel's pivotal moments, Jane writes a letter to her beloved, Mr. Rochester, only to burn it in the fireplace, symbolizing her rejection of societal expectations and her resolve to maintain her autonomy. Taylor's lyric echoes this act of defiance and resilience. Her decision to metaphorically address her letters to the fire might be seen as an act of catharsis, a way of letting go of past pain and moving towards a future where the pain wouldn't be "forevermore."

This literary interweaving in Taylor's work further highlights her skills as a nuanced storyteller. Not only does she draw upon her own experiences to craft her narratives, but she also taps into the rich heritage of literary tradition. By subtly referencing Dickinson and Brontë, Taylor underscores the universal and timeless nature of human emotions, attesting to the enduring power of stories to express, reflect, and understand our shared human experience. "Evermore" thus stands as a testament to Taylor's unique ability to resonate with her audience by tapping into the wellspring of universal human emotion.

Midnights

In "You're on Your Own, Kid," Taylor seems to allude to the character of Gatsby who fervently endeavored to secure Daisy's affection. He aspired to elevate his social standing to match Daisy's only to realize it wasn't merely about financial wealth.

The lyrics hint at the consequence of carelessness and entitlement, represented in the quote, "...smashed up things and creatures and then retreated back into their money or their vast carelessness, or whatever it was that kept them together and let other people clean up the mess they had made."

Like ‘happiness,’ in reflecting on Daisy's wish for her daughter to be a 'fool,' Taylor has been vocal about her own insecurities and her ongoing battles in a ruthlessly competitive industry. She's openly discussed the toll this journey has taken on her physical and mental well-being. Asserting oneself while facing criticism, and accepting that some people will never reciprocate our love are empowering realizations. Unlike Gatsby's inability to comprehend this with Daisy, Taylor seems to manifest this understanding in these reflective lyrics. “I hosted parties and starved my body / Like I'd be saved by a perfect kiss. The jokes weren't funny, I took the money. My friends from home don't know what to say” From sprinkler splashes to fireplace ashes/I lingered in anticipation to see you there. I surveyed the party of superior figures/Only to learn that you never cared.

Subverting Expectations with Dear Reader

In "Dear Reader," Taylor Swift borrows the intimate conversational tone of Brontë's iconic "Reader, I married him" line, but instead of announcing a pivotal decision as Jane Eyre does, Taylor opens up a dialogue, extending an invitation into her world. This recontextualization of Brontë's line reflects a distinct shift in perspective. While Jane Eyre is asserting her independence and decision-making power in a society that often denies women such agency, Taylor is already navigating a world where such self-determination is a given. Therefore, her focus is not on asserting autonomy, but on articulating her understanding of the world.

Taylor's sage advice in the lyrics of "Dear Reader" are deeply personal, focusing on resilience and introspection. The phrase "Bend when you can, snap when you have to" offers a lesson in flexibility and the importance of standing one's ground when necessary. Her lyrics, "Dear reader, you don't have to answer, just 'cause they asked you," encapsulate her ethos of self-determination and personal boundaries, emphasizing that one is not obligated to share their personal life just because there is demand for it.

Her metaphor of personal secrets as the "greatest of luxuries" foregrounds the value she places on maintaining a private self amidst the unrelenting scrutiny of public life. It's a sentiment that echoes the experience of many celebrities, providing a sobering counterpoint to the allure of fame.

The admonition "When you aim at the devil make sure you don't miss" is a testament to Taylor's audacity and resolve. It serves as an empowering reminder to be resolute when confronting adversity, signaling that she is unafraid to take risks or stand up for herself.

Finally, the advice to "Never take advice from someone who's falling apart" encapsulates Taylor's philosophy of discernment. It highlights the importance of seeking guidance from reliable sources, suggesting a maturity and wisdom that she has gained through her experiences in the spotlight.

Ultimately, through "Dear Reader," Taylor is not just paying homage to Brontë's "Jane Eyre," but also engaging with it in a dynamic way, transforming the line "Reader, I married him" from a personal declaration into an invitation for dialogue. In doing so, Taylor showcases her unique ability to reinterpret classic literature, injecting it with a modern sensibility and her own personal insights, once again reinforcing her status as a compelling storyteller for our generation. Bronte’s reader has become our generations’s writer, indeed the writer of our generation