The rest of the song is events leading up to or following the murder. Not necessarily in chronological order, because she’s confused/conflicted about what she’s done. The conflict is all over the song, “tender wolves”, “go on scream and cry…please don’t let him die.”

Anyway, I know I’m a bit late adding on here, but that’s my two cents.

In the beginning of the nineteenth century, “monster” was used in a specifically biological sense to mean anything that deviated or did not fit into a species. When Cuvier discovered mammoth bones, his first instinct was to consider them the bones of a monster — a deviant of the elephant. He soon came to the conclusion that it was rather an extinct species. Still, the mammoth was one of the first true monsters, Mary Shelley’s coming soon after. The idea of of monstrosity was very generative for the Romantics (both poets and prose writers) as it has been for you apparently. And for them as well, it spoke to the sense of the deviant within us. In one of my favorite moments in literature, Maria Edgeworth uses the monster – the mammoth in particular — as a symbol for the deviant histories we have buried. In this scene from _Belinda_, Clarence Harvey is at a dinner party; Clarence is a friend/admirer of Lady Delacour, who is not at the party, but he realizes in this scene that she has a daughter, which she has never admitted. At the dinner party, Clarence has been telling a young boy about the “apocryphal chapter of animals” when the following occurs:

The dessert was on the table before Clarence had done with the mammoth.

As the butler put a fine dish of cherries upon the table, he said, “My lady, these cherries are a present from the old gardener to Miss Delacour.”

“Set them before Miss Delacour then,” said Lady Anne. “Helena, my dear, distribute your own cherries.”

At the name of Delacour, Clarence Harvey, though his head was still half full of the mammoth, looked round in astonishment; and when he saw the cherries placed before the young lady, whose resemblance to Lady Delacour he had before observed, he could not help exclaiming,

“That young lady then is not a daughter of your ladyship’s?”

“No; but I love her as well as if she were,” replied Lady Anne.–”What were you saying about the mammoth?”

“That the mammoth is supposed to be————” but interrupting himself, Clarence said in an inquiring tone–”A niece of Lady Delacour’s?”

If you read Clarence’s last statement straight through, you get, “That the mammoth is supposed to be a niece of Lady Delacour’s.” And, symbolically, so it is. I have always found this to be a beautiful example of the monstrosity within us.

Also, to further riff off your discussion, I think the modern feeling of monstrosity has much to do with Baudrillard’s simulacra, or more specifically, has to do with living in a world in which “normal,” as it is presented to us in media and by “the media,” is unrealistic. I’m sure kids growing up in the plain states who are watching hours of Laguna Beach feel quite monstrous and very much deviants from the species they see on the television.

Great article.