From his "high windowpane" the gentleman can view the many phallic images that surround him: the "long retreating shades," the inclining roofs, and the "Gables and stacks / And spires." In between these masculine images lie the trees, which denote female imagery due to their in-between placement and their existance in nature.

From this outside view we move into the man's bedroom, which is where we will remain for the rest of the poem. Unlike "The Lady's Tower," there is no communication, or going back and forth, between the inside and the outside in this poem (i.e. in a male world). Moreover, the voice of the narrator is undefined, ungendered in this poem while the narrator in "The Lady's Tower" is decidedly female.

Inside the gentleman's room everything is orderly and linear (Haberstroh, ch. 4), which contrasts the webbed imagery within the lady's tower. The man's mirror is "coffin-shaped," "polished" and "smooth." The mirror reflects the "Blue of mown grass on a lawn" which might refer to the "Soft light" or the blue color of the room.

[A coffin-shaped looking-glass replies,

Soft light, polished, smooth as fur,

Blue of mown grass on a lawn, . . .]

Regardless, the mirror definately enforces the idea of orderliness/tidiness with this image of the freshly cut grass. (This image could also refer to an actual lawn outside the window, which is reflected in the mirror. But even if this is the case, it does not suggest a communication between the outside and the inside for the outside is seen only through a man-made object within the room; the lawn is only a reflection, or a false image of the natural world).

Just as the fourth stanza of "The Lady's Tower" begins with "Opening the kitchen door," the third stanza of "A Gentleman's Bedroom" begins with "Opening the door." His door, however, does not open onto a domestic kitchen scene but rather onto his very organized, masculine bedroom. The open doorway still creates a threshold space but it does not encourage a sense of communication. The door opens and "all walls point at once to the bed," thus the viewer's gaze is directed without choice in a linear and patriarchal fashion. The orderly/tidy imagery continues with this bed, which takes up a "quarter" of the room. Terms such as "uniform," "volumes," and "shelved" reveal the sterile atmosphere within the bedroom. This atmosphere exposes "'a male need to fix, measure and control objects' that is 'represented as a fear of flux'" (Clair Wills quoted by Haberstroh--both reviewing Ní Chuilleanáin's poem).

Images such as the "desk calendar," which refers to dates and times (linearity), the "fountain pen," the "weighty table-lighter in green marble," and the "dusted" "cigar-box" create the cold, sterile scene. There is only one suggestion of a female in the poem--a "framed" woman in a white dress, which of course refers to the bride (or bride-to-be) of the man who inhabits this room. The picture "Indicate[s] the future from the cold mantel." The word "cold" describes not ony the architecture and atmosphere of this room but the dull future that awaits the couple. (The picture must indicate the future for this bedroom holds no female essence; this room must be the gentleman's abode prior to his wedding day).

The gentleman's room is "silent," which contrasts the lady's bustling tower. A "sliding flooded stream" runs by the tower, and spiders, cats, dancing brooms and dusters create a lively atmosphere within the woman's home.

At the end of "A Gentleman's Bedroom" there is a reference to the outside world, but it is only a reference. We look out the gentleman's "high windowpane" once more and see the rain, but there is no actual emergence into the outside air. However, we are not left completely in the cold and silence for Ní Chuilleanáin provides us with the sound of singing birds. Thus noise enters the picture, bringing the promise of new life and perhaps better weather.