Taylor - Literary References

folklore

Continuing the examination of the classic literary references of Taylor Swift. Much was made of how she used her exile to Moira-up and sing "bigger, flowerier, prettier" words such as "epiphany", "kaleidoscope" and "divorcée", just because they "sound beautiful", but her true brilliance lies in her growth as a dear reader and ability to synthesize the classics for the modern pop era. Calling on some friends, including cabinwave pioneer Bon Iver, she finally made the indie record she always felt the art-bros thought was cooler than hers, and she did it using narratives that both embraced and reinterpreted the themes of classic literature.

“mad woman”

In her song "Mad Woman", swift Taylor 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 channeling Martin's characters through one of her favorite inspirations in 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 swift's lyrics and further illuminates her understanding of the social dynamics at play.

More specifically however, if "Invisible String," another track from the same album, is an homage to Jane Eyre, the protagonist who ultimately triumphs over adversity, then "Mad Woman" could be seen as Taylor's take on "Wide Sargasso Sea." Jean Rhys' novel offers a sympathetic narrative from Bertha's perspective, humanizing the character who was largely a mystery in Bronte's work. Taylor's lyrics, particularly, "No one likes a mad woman / You made her like that," encapsulate this shift in perspective. It shifts the blame from the 'mad' woman to those who have driven her to madness, calling out the gaslighting and manipulation that often hide behind such labels.

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 swift'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. The song's exploration of the interplay between perception and identity echoes the debates spurred by Bertha's character in the novel: Was Bertha inherently mad, or was her madness a product of her circumstances, of the constraints and expectations placed on her as a woman?

In the lyrics, "Every time you call me crazy, I get more crazy," Taylor poignantly captures the vicious cycle of how external perceptions can influence and potentially distort an individual's sense of self. This line powerfully resonates with Bertha's portrayal in "Jane Eyre." Bertha, entrapped physically in the attic and metaphorically in her role as the 'madwoman,' is continually painted as insane by her husband, which in turn exacerbates her mental condition. It raises the question of whether the 'madness' is a self-fulfilling prophecy, a result of being labelled and treated as such.

In the chorus, Swift sings, 'And you'll poke that bear 'til her claws come out / And you find something to wrap your noose around.' These evocative lines hinting at themes of persecution and survival, have a distinctly Gothic horror flavor, which was reportedly (vulture.com) quite substantively the lifeblood of Taylor's cabinwave era. The image of the bear, a creature associated with power and ferocity, symbolizes the protagonist's growing defiance. By painting a vivid picture of a creature cornered and prodded until it has no choice but to bare its claws, Swift is channeling the witch archetype - a figure often feared and misunderstood.

The use of the term 'noose' conjures images of the witch trials of the past, where women accused of witchcraft were often hanged. By invoking these historical events, Swift weaves a narrative that connects the past and the present, highlighting the continuous struggle of women in a patriarchal society. The 'mad woman' and the 'witch' become interchangeable identities, both symbols of resistance against oppressive structures.

In the same vein, swift'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'. swift'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. swift'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, swift 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. swift's lyricism, laced with literary and pop culture references, underlines her commitment to shedding light on these universal themes.

evermore

"Right Where You Left Me"

In the realm of timeless literature, few characters encapsulate the chilling stagnation of heartbreak as profoundly as Miss Havisham from Charles Dickens' "Great Expectations." An elderly wealthy woman who resides in a rotting mansion, cloaked in her aged wedding dress, Miss Havisham's life is a suspended animation, frozen at the moment of her utmost betrayal. The uncanny resemblance between this figure and the persona in Taylor Swift's song, "Right Where You Left Me," invites a profound exploration of shared themes and imagery.

The opening lines of Taylor's song, "Friends break up, friends get married. Strangers get born, strangers get buried. Trends change, rumors fly through new skies. But I'm right where you left me," paints a poignant picture of a woman stranded in time, her life halted by the end of a significant relationship. This echoes Miss Havisham's narrative arc in "Great Expectations," her life has essentially stopped since the day she was left at the altar, her heart eternally anchored to that moment of heartbreak.

The lyric, "dust collected on my pinned-up hair," in "Right Where You Left Me," powerfully mirrors the aging, decaying environment of Miss Havisham's existence. Just as dust gathers on Taylor's character's hair, indicating a lack of movement or change, the dust covering Miss Havisham's wedding dress and the stopped clocks in her house symbolize her refusal to move past her pain. Both women are stuck in a moment, their lives defined by the absence of someone they once loved.

Taylor's character and Miss Havisham also share a profound sense of bitterness and a desire for revenge. In the chorus of "Right Where You Left Me," Taylor sings, "You left me no choice but to stay here forever." This line conveys a sense of being wronged and abandoned, akin to Miss Havisham's feelings towards her deceitful fiancé. Miss Havisham's revenge takes the form of using her adopted daughter Estella to break men's hearts, a cruel mirror to her own experience. While Taylor's lyrics do not explicitly mention revenge, the lingering resentment and blame suggest a similar desire to make the one who caused her pain understand its depths.

The exploration of time is another shared theme between Taylor's song and Dickens' novel. In "Right Where You Left Me," Taylor's lyrics describe a world that continues to spin, evolve, and change while she remains frozen in the past. This parallels Miss Havisham's existence in a dilapidated house where every clock is stopped at the exact moment of her betrayal, twenty minutes to nine. Both narratives depict time as an uncaring force, moving forward regardless of individual pain or heartbreak.

In conclusion, the haunting portrayal of heartbreak in Taylor Swift's "Right Where You Left Me" draws significant parallels with Miss Havisham's character in "Great Expectations." Both narratives explore themes of lost love, the stagnation of time, and a vengeful bitterness that binds the characters to their past. Despite being crafted in different eras and mediums, these narratives resonate with a shared understanding of the devastating impact of heartbreak, capturing the universal human experience of loss and the struggle to move forward.

midnights

mastermind

Taylor Swift's track 'Mastermind' is a masterful illustration of the power dynamics that often underpin relationships, particularly in relation to self-advocacy and survival. One compelling facet of this song is its potential allusion to the Greek mythological figure Iphigenia, specifically in the lyric, 'wind in your free-flowing sails.' Taylor uses this mythological parallel to add depth to her narrative, suggesting that, like Iphigenia, she must advocate for herself or face the ultimate sacrifice.

In Greek mythology, Iphigenia is the daughter of King Agamemnon, who, under the illusion of a prosperous marriage, lures her into a sacrificial slaughter to appease the goddess Artemis and secure favorable winds for his fleet's journey to Troy. However, Iphigenia is eventually spared, with some versions of the myth suggesting she is replaced by a deer at the altar or spirited away by Artemis herself to serve as a priestess in a foreign land.

The lyric 'wind in your free-flowing sails' is suggestive of Iphigenia's tale, as the winds and sails symbolize the motivation behind her near-sacrifice. Similarly, Taylor's use of the term 'Mastermind' echoes the Machiavellian maneuvers that underpin both her experiences in the dating world and Iphigenia's story. This comparison underscores the lengths to which individuals, particularly women, must go to ensure their survival and autonomy in a world that often seeks to exploit or sacrifice them for others' gain.

Taylor's lyric, "She is only Machiavellian because she cares," encapsulates this sentiment. It implies that her strategic, self-advocating maneuvers are born not out of a desire for manipulation or control, but from a necessity for self-preservation. Just as Iphigenia is placed in a situation where her survival depends on divine intervention or reinterpretations of the myth where she cleverly escapes, Taylor highlights her need to be the 'Mastermind' to navigate and survive the often treacherous landscape of the patriarchy, and the 'use and discard'

In both narratives, there's a recognition of the solitary nature of their struggle. As Taylor asserts, "There's only one woman that's going to survive," indicating that in scenarios like these, one often must rely on oneself. This assertion resonates deeply with Iphigenia's tale. Despite her royal lineage, Iphigenia finds herself alone in her struggle, underscoring the universality of this isolation in the face of self-preservation.

"Mastermind" draws compelling parallels with the myth of Iphigenia, exploring themes of self-advocacy, survival, and the solitary nature of struggle. Through her lyrics, Taylor illuminates the stark realities of power dynamics and the lengths to which individuals must go to ensure their autonomy and survival. She invites listeners to question societal structures and narratives that often lead to such situations, just as the myth of Iphigenia prompts us to ponder the tragic cost of ambition and manipulation.

Taylor’s self-proclamation as a 'Mastermind' is not an admission of malicious manipulation, but rather an assertion of her own agency within a system that often undermines it. She is the orchestrator of her own narrative, a direct response to the manipulative 'players' and men she’s encountered. Her tactics aren’t about playing games, but about self-preservation and the pursuit of genuine relationships. In the face of the 'use and discard' mentality that she and many women encounter, Taylor’s 'Machiavellian' strategies are not just about survival, but about retaining control over her own story.

In the line, "She is only Machiavellian because she cares," Taylor highlights the dilemma faced by many women within patriarchal societies. The societal expectation for women to be nurturing and caring often conflicts with the harsh reality of a world that rewards ruthless self-interest. As a result, women like Taylor are forced to reconcile these conflicting demands, to manipulate and manoeuvre not out of a desire for power or control, but out of care for themselves and their loved ones.

However, Taylor's 'Mastermind' is not just a reactionary figure. She is an active participant in her own narrative, working to shape and control her experiences rather than passively accepting the circumstances. While others might attribute successful relationships to 'invisible strings,' 'Cupid,' or 'the stars aligning,' Taylor makes it clear that she is the orchestrator of her own destiny. Through her actions and decisions, she actively creates the outcomes she desires rather than passively waiting for them to occur.

In this sense, Taylor's 'Mastermind' serves as an empowering figure for her listeners. She encourages them to take control of their own narratives, to navigate and survive in a world that may not always value their contributions. She challenges the traditional perception of women as passive recipients of their fate, instead presenting them as active participants capable of shaping their own destinies.

AntiHero

Taylor sings 'Tale as old as Time,' which captures the essence of the narcissistic tendency to dangle the promise of transformation – a change from the metaphorical 'beast' into a 'prince' the one who was lovebombing at the beginning of the relationship– provided the other person showers them with self-sacrificing love and behaves according to their expectations. This manipulative trope, as old as time itself, draws us back to the well-known narrative of fairytales such as 'Beauty and the Beast'.

Here, the transformation of the beast into a prince isn't initiated by a magical kiss but rather by behaving perfectly, yet it tends to never be good enough, by design, thus leaving her scheming and dreaming the prince will leave. The beast, in all his fury and gruff exterior, can be viewed as an anti-hero of sorts in the fairytale where he actual is capable of change. But this is not a fairytale. By aligning her narrative with this classic story, Swift portrays a dynamic that is familiar yet intricate, reminding listeners of the power held by both love and manipulation in transforming perceptions and identities, of the chess-players she's been up against that 'changed the rules everyday'. Psychologists have commented on this song saying, (dr. Ramani) that its very common for narcisists to convince their partners that they are the problem, and the protaganist of AntiHero has in fact most likely been accused of being the problem by the 'beast.' (in reality this is likely a picture of the press who originated this narrative).

"Anti-Hero" is a testament to Swift's ability to navigate complex psychological terrains and bring them to life through her lyrical prowess. Her deep understanding of the human psyche, coupled with the genius to translate it into relatable narratives, cements her position as a mastermind of modern storytelling.

Taylor Swift’s 'Karma' and "You're Losing Me' - A Lyrical Exploration of Codependency and Recovery

In her song 'Karma,' Taylor Swift draws from the classic literature of a well-known, yet anonymous self-help program known as 'CoDA' (Codependents Anonymous). This group provides support for individuals often referred to as 'pathological people pleasers,' those who often prioritize the needs and feelings of others over their own to an unhealthy extent. Notably, she calls her self a PPP in You're Losing Me and it is the premiere recovery platform for covert narcissists as well, see 'Anti-Hero'. The program's philosophy finds resonance in Swift's lyrics, blending the concept of 'karma' with the principles of personal growth and self-awareness. She identifies with this affiction in the midnights bonus track: "You're Losing Me'. This is important because its a counter-narrative to her calling herself a 'covert narcissist,' in anti-hero. Clearly very familiar with modern therapy and basic DSM-based psychology, she is in effect answering the media's accusation that she has a disorder, by saying that not only is she not narcissistic, she's 180 degrees the other way,

The Essence of Karma and the 12 Steps

'CoDA' embraces a 12-step recovery program that encourages individuals to trust in a higher power or the great balancing of the universe to equal out rights and wrongs for those who wait and trust and do not avenge, mirroring the concept of 'karma' as a natural mechanism for making wrongs right. Swift's reference to this process of spiritual and personal healing weaves a complex tapestry of self-discovery and accountability within her song. She explores the concept that people-pleasing, often seen as a benign or even commendable trait, can morph into a form of control that breeds resentment and Machiavellian behavior. Please see our article on reputation for her exploration of that, which was her first foray into the vengeance oriented realm which conveniently known in Gothic fiction as a revenge seeking (dressing?) Anti-hero (think Kill-Bill, or Buffy vs Faith in BVTS.) In her 'Karma' era, she's telling her enemies they need to calm down, though, vigiante shit might suggest she might have some street-cleaning still to do. (FBI? Damn Tay).

Cleaning 'My Side of the Street'

In 'Karma,' Swift employs the phrase "I keep my side of the street clean," a quote lifted directly from the literature of 'CoDA.' This saying encapsulates the idea of focusing on one's own behavior and attitudes, the things within our control, rather than obsessing over the actions of others. It speaks to the process of personal growth, emphasizing the importance of self-awareness, responsibility, and the healing power of addressing one's own shortcomings.

A Wink and a Nod

In the song, Swift follows this powerful line with a playful acknowledgement, stating, "you wouldn't know what I mean." This is a nod to the fact that many listeners may not be familiar with the context of this saying or the recovery program it originates from. The line could also be interpreted as a testament to Swift's clever incorporation of nuanced themes into her lyrics, hidden in plain sight for those who know where to look.

It is important to note that these references to 'CoDA' and its teachings do not necessarily imply Swift's personal involvement in the program. Rather, they reflect her familiarity with its literature and her self-acknowledged tendency towards people-pleasing. Through the lens of her song 'Karma,' Swift transforms these themes into a powerful exploration of self-improvement and personal empowerment, once again showcasing her ability to touch on deeply human themes in a relatable and insightful way.