I need a critical analysis of the poem "Come into the Garden Maude" by Alfred Lord Tennyson.

"Come into the Garden Maude" by Alfred Lord Tennyson is an
exquisitely composed and crafted love poem. The story is
that after a long ball, the poetic speaker (possibly Tennyson) is devotedly waiting in
the garden for his wearied beauty. The theme is his undying
devotion to always await her with longing heart, even in
death:

Had I
lain for a century dead;
Would start and tremble under her feet,
And
blossom in purple and
red.

The
overall metaphor of the poem is a comparison of his beloved
to the monarch of the garden, the Queen of the
flowers:

Queen
rose of the rosebud garden of girls
In gloss of satin and glimmer of
pearls,
Queen lily and rose in
one;

A prominent
trope with a non-literal meaning that Tennyson uses is
synæsthesia. This is a technique of
imagery that mixes sensory categories producing images like
velvet that hums or songs that skip. Tennyson writes about a "daffodil sky" and hair
"sunning over with curls." The first joins tactile "daffodils" with ethereal, visible
"sky." The second joins visible light of "sunning" with tactile
"curls."

Tennyson makes use of pathetic
fallacy, where "pathetic" means "empathetic" and able to "feel."
Pathetic fallacy assigns human qualities of thought and
feeling to nature, inanimate objects, and concepts (anthropomorphic fallacy assigns
these to animals). Pathetic fallacy is related to personification
because they are both subcategories of rhetoric reification. Though
related, they have some differences: personification is not a rhetorical fallacy; it is
an explicitly direct attribution of life qualities; pathetic fallacy is broader and more
subtle than personification. An example of Tennyson's pathetic fallacy
is:

The red
rose cries, "She is near, she is near;"
And the white rose weeps, "She is
late;"
The larkspur listens, "I hear, I hear;"
And the lily
whispers, "I wait."

The
meter and rhyme scheme have interesting variations. The
base meter is anapestic trimeter (a pattern of ^ ^ / unstressed unstressed stressed for
three repetitions ^ ^ / ^ ^ / ^ ^ /). However, since variation on the meter greets the
reader at verse one, the first verse with pure anapestic trimeter is: "And^ the^ pla' /
-net^ of^ Love' / is^ on^ high',". The opening line starts with an anapest but then has
two varied feet of iambs: "For^ the^ black' / bat,^ Night,' / has^
flown',".

An alternate
scansion call this three feet of anapests with comma pauses filling
unstressed beats: "For^ the^ black' / bat^ ,^ Night' / ,^ has^ flown',". The
pause is recognized as an integral part of rhythm in
English poetics dating as back as the first use of the caesura as in
Beowulf. Tennyson also varies the meter with anapestic
tetrameter ("Be^ -ginn' / -ing^ to^ faint' / in^ the^
light' / that^ she^ loves'") and iambs (as in the above):
"My^ heart' / would^ hear' / her^ and^ beat',".

The
rhyme scheme is also varied. The lines in the stanzas are
in this pattern for ten stanzas: 5 / 6 / 6 / 8 / 6 / 6 / 8 / 6 / 8 / 8. The first stanza
has a rhyme scheme abaca. The remaining rhyme scheme is alternating rhymes expanding
progressively from a six line scheme of dedede at stanza 2, with variations for eight
lines at stanzas 4, 7, 9, and 10 (e.g., stanza 4: hihihihi).