 Elaine Jordan argues , in her 1988 analysis of Tennyson 's works , that the poem 's depiction of " self @-@ infolding [ ... ] is a negation which involves the drawing @-@ in of forces in order perhaps to assert the self differently . Mariana is the most powerful expression , very early , of such a moment , though its assertiveness exists only as strong gloom in image and rhythm , not as narrative possibility except in the desire for an end to it all preferred over patience . " In 2002 , Ruth Glancy writes , " In the last stanza , Mariana 's grip on the present is loosening , and Tennyson 's mastery of sound and images is evident ( even in this early poem ) in his description of the house that echoes her utter desolation " . Anna Barton , in her 2008 analysis , declares Mariana " the most famous heroine of the 1830 volume " and that both The Ballad of Oriana and Mariana are " poems of greater substance that develop the poetic that Tennyson begins to establish in his briefer songs . " 
 Elaine Jordan <a href='uninflect' title='1'><mark>argues</mark></a> , in her 1988 analysis of Tennyson <a href='null_genetive' title='2'><mark>'s</mark></a>works , that the poem <a href='null_genetive' title='3'><mark>'s</mark></a>depiction of " self @-@ infolding [ ... ] is a negation which <a href='uninflect' title='4'><mark>involves</mark></a> the drawing @-@ in of forces in order perhaps to assert the self differently . Mariana <a href='drop_aux' title='5'><mark>is</mark></a>the most powerful expression , very early , of such a moment , though its assertiveness <a href='uninflect' title='6'><mark>exists</mark></a> only as strong gloom in image and rhythm , not as narrative possibility except in the desire for an end to it all preferred over patience . " In 2002 , Ruth Glancy <a href='uninflect' title='7'><mark>writes</mark></a> , " In the last stanza , Mariana <a href='null_genetive' title='8'><mark>'s</mark></a>grip on the present is loosening , and Tennyson <a href='null_genetive' title='9'><mark>'s</mark></a>mastery of sound and images <a href='drop_aux' title='10'><mark>is</mark></a>evident ( even in this early poem ) in his description of the house <a href='null_relcl' title='11'><mark>that</mark></a><a href='uninflect' title='12'><mark>echoes</mark></a> her utter desolation " . Anna Barton , in her 2008 analysis , <a href='uninflect' title='13'><mark>declares</mark></a> Mariana " the most famous heroine of the 1830 volume " and that both The Ballad of Oriana and Mariana <a href='drop_aux' title='14'><mark>are</mark></a>" poems of greater substance <a href='null_relcl' title='15'><mark>that</mark></a>develop the poetic that Tennyson <a href='uninflect' title='16'><mark>begins</mark></a> to establish in his briefer songs . " 
Elaine Jordan argue , in her 1988 analysis of Tennyson  works , that the poem  depiction of " self @-@ infolding [ ... ] is a negation which involve the drawing @-@ in of forces in order perhaps to assert the self differently . Mariana the most powerful expression , very early , of such a moment , though its assertiveness exist only as strong gloom in image and rhythm , not as narrative possibility except in the desire for an end to it all preferred ova patience . " In 2002 , Ruth Glancy write , " In da last stanza , Mariana  grip on the present is loosening , and Tennyson  mastery of sound and images evident ( even in this early poem ) in his description of tdahouse echo her utter desolation " . Anna Barton , in her 2008 analysis , declare Mariana " the most famous heroine of the 1830 volume " and that both The Ballad of Oriana and Mariana " poems of greater substance develop the poetic that Tennyson begin to establish in his briefer songs . "