Toward the finish of Part II, the speaker’s edgy cries to be covered “further, minimal more profound” in the ground demonstrate his longing to acquire the stifled standards that Maud epitomizes by cutting himself off from the essentialness of the shameful occasions where he lives. The progress to Part III is set apart by the speaker’s pass into a fantasy in which he discovers Maud in Heaven
“like a quiet lightning under the stars
She appeared to isolate in a fantasy from a band of the fortunate
What’s more, discussed a desire for the world in the coming wars—” (III.vi.351-353)
The speaker conceptualizes Maud’s quietness as referencing the “greatness of the coming wars.” In this last experience, the speaker can disguise the quiet, controlled quality he has given to her, which permits his voice to get away from the hints of franticness and express the brave military talk of the manly field of war:
“Release it or remain, so I wake to higher points
of a land that has lost for a little her desire of gold
[… ]
also, hail again to the pennant of fight
unrolled!
[… ]
the crimson bloom of war with a heart of fire” (III.380-395)
At last, while this completion connotes the speaker’s grasping of a contemporary reason: the “higher points” of his country’s inclusion in Crimean War, it additionally implies his disguise of a dream and along these lines his disengagement from the real world. The speaker’s passageway into this inconceivably manly field of war is subject to his embracement of the smoothness that make Maud a perfect lady to him. The quietness of Maud that offered the speaker this motivation isn’t grounded truly, yet is something that he can just experience “yet in a fantasy” (358).
