“Angels We Have Heard on High” (Traditional French carol): A Critical Analysis

“Angels We Have Heard on High” first appeared in the 1855 collection “Hymns Ancient and Modern” is known for its joyful, triumphant melody and its emphasis on the heavenly announcement of Christ’s birth.

"Angels We Have Heard on High" (Traditional French carol): A Critical Analysis
Introduction: “Angels We Have Heard on High”

“Angels We Have Heard on High” first appeared in the 1855 collection “Hymns Ancient and Modern” is known for its joyful, triumphant melody and its emphasis on the heavenly announcement of Christ’s birth. The hymn’s main idea is to celebrate the joy and wonder of the Savior’s arrival, as proclaimed by angelic beings. The qualities of the hymn include its catchy tune, its uplifting message, and its ability to evoke feelings of peace, hope, and reverence.

Text: “Angels We Have Heard on High”

1 Angels we have heard on high,
sweetly singing o’er the plains,
and the mountains in reply
echoing their joyous strains:

Refrain:
Gloria, in excelsis Deo!
Gloria, in excelsis Deo!

2 Shepherds, why this jubilee?
Why your joyous strains prolong?
What the gladsome tidings be
which inspire your heav’nly song? [Refrain]

3 Come to Bethlehem and see
Him whose birth the angels sing;
come, adore on bended knee
Christ the Lord, the new-born King. [Refrain]

4 See Him in a manger laid,
Jesus, Lord of heav’n and earth!
Mary, Joseph, lend your aid,
sing with us our Savior’s birth. [Refrain]

Annotations: “Angels We Have Heard on High”
LineAnnotation
1. Angels we have heard on high,Refers to the angels singing from the heavens, symbolizing the divine announcement of Jesus’ birth.
2. sweetly singing o’er the plains,The angels are described as singing beautifully, with the sound carrying over the plains, indicating widespread celebration.
3. and the mountains in replySuggests that nature itself (the mountains) is echoing or responding to the angels’ joyful song, symbolizing the universe’s participation.
4. echoing their joyous strains:Reinforces the idea that the angels’ songs of joy are reverberating through the mountains, signifying the spread of the good news.
Refrain: Gloria, in excelsis Deo!Latin for “Glory to God in the highest,” a phrase from Christian liturgy that exalts God, emphasizing the angels’ praise for the divine.
5. Shepherds, why this jubilee?Directs a question to the shepherds about the cause of their celebration, highlighting the joy associated with the birth of Christ.
6. Why your joyous strains prolong?Asks the shepherds why their celebration is continuing, emphasizing the magnitude of the event they are witnessing.
7. What the gladsome tidings beInquires about the joyful news (the birth of Jesus) that is causing such exuberance.
8. which inspire your heav’nly song?Questions the shepherds about the reason behind their heavenly-inspired singing, which is a reaction to the angels’ message.
Refrain: Gloria, in excelsis Deo!Repeated refrain, emphasizing continuous praise and glory given to God.
9. Come to Bethlehem and seeInvitation to witness the birth of Christ in Bethlehem, where the nativity took place.
10. Him whose birth the angels sing;Refers to Jesus, the subject of the angels’ song, reinforcing the divine nature of the event.
11. come, adore on bended kneeInvitation to worship Christ, emphasizing humility and reverence before the new-born King.
12. Christ the Lord, the new-born King.Identifies Jesus as the Messiah (Christ) and the King of Heaven and Earth, central to the Christian faith.
Refrain: Gloria, in excelsis Deo!Repeated refrain, continuing the glorification of God.
13. See Him in a manger laid,Describes Jesus’ humble birth in a manger, symbolizing his entry into the world in poverty and simplicity.
14. Jesus, Lord of heav’n and earth!Proclaims Jesus as the Lord of all creation, both in heaven and on earth, reinforcing his divinity.
15. Mary, Joseph, lend your aid,Calls upon Mary and Joseph, Jesus’ earthly parents, to join in the celebration of his birth.
16. sing with us our Savior’s birth.Invitation to sing in celebration of Jesus’ birth, acknowledging him as the Savior of humanity.
Refrain: Gloria, in excelsis Deo!Final repetition of the refrain, reiterating the glory and praise given to God in the highest.
Literary And Poetic Devices: “Angels We Have Heard on High”
DeviceDefinitionExample from PoemExplanation
AlliterationThe repetition of the same consonant sound at the beginning of words.“shepherds, why this jubilee?”The repetition of the “s” sound creates a sense of rhythm and emphasis.
AnaphoraThe repetition of a word or phrase at the beginning of successive clauses or sentences.“Angels we have heard on high, sweetly singing o’er the plains, and the mountains in reply echoing their joyous strains:”The repetition of “Angels” emphasizes the heavenly message.
AntistropheThe repetition of a word or phrase at the end of successive clauses or sentences.“Gloria, in excelsis Deo!”The repetition of the refrain creates a sense of unity and closure.
AssonanceThe repetition of the same vowel sound within words.“What the gladsome tidings be which inspire your heav’nly song?”The repetition of the “a” sound creates a melodious quality.
HyperboleExaggerated statements used for emphasis.“Christ the Lord, the new-born King.”The phrase “new-born King” emphasizes the significance of Jesus’ birth.
ImageryThe use of vivid language to create mental images.“See Him in a manger laid”The image of Jesus in a manger evokes a sense of humility and simplicity.
MetaphorA comparison between two unlike things without using “like” or “as.”“Christ the Lord, the new-born King.”Jesus is compared to a king, emphasizing his authority and power.
OnomatopoeiaThe use of words that imitate the sounds they represent.“sweetly singing”The word “singing” imitates the sound of singing.
ParallelismThe use of similar grammatical structures.“Angels we have heard on high, sweetly singing o’er the plains, and the mountains in reply echoing their joyous strains:”The parallel structure of the clauses creates a sense of balance and rhythm.
RefrainA repeated phrase or verse in a poem or song.“Gloria, in excelsis Deo!”The refrain serves as a unifying element and emphasizes the central theme of the carol.
RhymeThe repetition of similar sounds at the end of words.“plains” and “strains,” “be” and “see”Rhyme creates a musical quality and helps to memorize the poem.
RhythmThe pattern of stressed and unstressed syllables in a poem.The carol has a rhythmic pattern that is easy to follow.The rhythm contributes to the song-like quality of the poem.
SimileA comparison between two unlike things using “like” or “as.”Not present in the poem.Similes can be used to create vivid images and comparisons.
SymbolismThe use of objects, characters, or events to represent something else.“Jesus in a manger”The manger symbolizes the humble birth of Jesus.
SynesthesiaThe use of one sense to describe another.Not present in the poem.Synesthesia can create unique and evocative images.
ToneThe attitude of the speaker or writer towards the subject matter.Joyful and celebratoryThe tone reflects the joyous occasion of Christmas and the birth of Jesus.
VerseA group of lines in a poem.Each stanza in the carol is a verse.The verses divide the poem into sections and help to organize the content.
VoiceThe distinctive style or personality of the speaker or writer.Heavenly and angelicThe voice reflects the angelic message and the joyful tone of the carol.
Word ChoiceThe selection of specific words to convey meaning and create effects.“gladsome tidings”The word “gladsome” conveys a sense of joy and happiness.
AllusionA reference to a famous person, place, thing, or event.Not present in the poem.Allusions can add depth and meaning to a text by connecting it to other works or cultural references.
Themes: “Angels We Have Heard on High”
  1. Celebration of the Birth of Christ: The poem centers on the jubilant celebration of the birth of Jesus Christ, conveyed through the voices of angels and the echoing response from the mountains. The repeated refrain “Gloria, in excelsis Deo!” (Latin for “Glory to God in the highest”) serves as an exclamation of praise and glory to God for the gift of His Son. This theme underscores the overwhelming joy and exaltation felt by all creation, both heavenly and earthly, at the arrival of Christ, marking the fulfillment of divine prophecy. The joyous strains that resonate throughout the poem create an atmosphere of reverence, worship, and celebration of this pivotal moment in Christian belief.
  2. Divine Revelation to the Humble Shepherds: A significant theme in the poem is the revelation of Christ’s birth to the shepherds, who were humble and ordinary figures. The lines “Shepherds, why this jubilee? / Why your joyous strains prolong?” highlight the unexpected nature of this divine announcement to simple shepherds, emphasizing the Christian concept that God reveals His grace to the humble and lowly. The angels’ appearance to the shepherds symbolizes God’s desire for all, including the marginalized and overlooked, to share in the joy of salvation. This theme reflects the universality of Christ’s message, transcending social classes and bringing divine tidings to all.
  3. Adoration and Worship of Christ the King: Throughout the poem, there is a clear call to worship and adore the newborn King, Jesus Christ. The invitation to “come, adore on bended knee / Christ the Lord, the new-born King” reflects the central Christian practice of offering reverence and worship to Christ as both Lord and Savior. The image of the shepherds and the audience being beckoned to the manger to pay homage to Christ signifies the proper response to this divine gift: submission, worship, and adoration. This theme speaks to the heart of the Christmas tradition, which is the acknowledgment of Jesus’ divine kingship and the personal, spiritual act of honoring Him.
  4. Unity of Heaven and Earth in Worship: A profound theme in the poem is the harmony between heaven and earth in celebrating Christ’s birth. The opening lines depict angels “sweetly singing o’er the plains” while the mountains “echo their joyous strains,” symbolizing the blending of celestial and terrestrial realms in unified worship. The poem presents a vision where angels and humans alike are engaged in glorifying God, reflecting the theological belief that the birth of Christ bridges the gap between the divine and the mortal. This unity in praise, seen through the recurring refrain and the depiction of both heavenly and earthly participants, underscores the universality of Christ’s message and the collective rejoicing in His arrival.
Literary Theories and “Angels We Have Heard on High”
TheoryExplanationReferences from Poem
FormalismFocuses on the form and structure of the text, analyzing elements like rhyme, rhythm, imagery, and symbolism.The poem’s use of refrains, alliteration, and imagery (e.g., “See Him in a manger laid”) are key formal elements.
Reader-Response CriticismExamines how readers interpret the text, considering their individual experiences and perspectives.A reader might interpret the poem as a comforting and hopeful message, while another might focus on the historical context of the birth of Jesus.
Religious StudiesAnalyzes the text within its religious context, exploring themes of faith, spirituality, and divine intervention.The poem’s explicit religious themes (e.g., the birth of Jesus, the angels’ message) align with Christian beliefs.
Critical Questions about “Angels We Have Heard on High”
  • How does the repetition of the refrain “Gloria, in excelsis Deo” enhance the poem’s message of divine glorification?
  • The repetition of the refrain “Gloria, in excelsis Deo!” reinforces the central theme of divine glorification by emphasizing the unending praise offered to God. The consistent return to this phrase after each stanza underscores the overwhelming joy and reverence that the angels, and by extension all of creation, express in response to the birth of Christ. The refrain serves as a reminder that the event of Christ’s birth is not only historical but also a cosmic and eternal moment of glory. This repetition draws the reader into the act of worship, mirroring the ceaseless adoration found in heaven. By repeating “Gloria” multiple times, the poem highlights the grandeur and holiness of the event, elevating it to a divine spectacle worthy of unending praise.
  • What role do the shepherds play in symbolizing the accessibility of divine revelation to all people?
  • The shepherds in the poem symbolize the idea that divine revelation is accessible to all, regardless of social standing or background. The second stanza, with its direct address to the shepherds—”Why this jubilee? Why your joyous strains prolong?”—emphasizes their unexpected yet pivotal role in the story of Christ’s birth. As humble figures, the shepherds represent ordinary people who are granted the extraordinary privilege of witnessing the angelic announcement. This choice reflects the Christian teaching that God’s message of salvation is universal, meant for both the lowly and the powerful. The shepherds’ jubilation, despite their simplicity, highlights that divine joy and revelation are available to everyone, transcending societal barriers.
  • How does the imagery of nature (plains, mountains) contribute to the poem’s theme of unity between heaven and earth?
  • The imagery of nature in the poem, particularly in the first stanza—”sweetly singing o’er the plains, and the mountains in reply”—illustrates the theme of unity between heaven and earth. This interaction between the plains, mountains, and the angelic singing suggests that all of creation is participating in the celebration of Christ’s birth. Nature itself seems to respond to the divine event, symbolizing a cosmic harmony where both the natural world and the heavenly realm come together in worship. The use of natural elements in this way expands the scope of adoration, indicating that Christ’s birth is not just for humanity but for all of creation. This unity reflects the poem’s broader message of universal praise and connection between the divine and the earthly.
  • In what ways does the poem emphasize the importance of worship as a communal and collective act?
  • The poem emphasizes the communal nature of worship by repeatedly inviting participation from both heavenly beings and people. Lines like “come, adore on bended knee” and “sing with us our Savior’s birth” directly call upon the reader to join in the collective adoration of Christ. The inclusion of figures such as Mary, Joseph, the shepherds, and the angels underscores that worship is not a solitary act but a shared experience that unites individuals across time and space in celebration of Christ’s birth. This collective focus reflects the Christian belief that the birth of Christ is a moment for all to gather in praise, making worship a universal and communal response to the divine. The poem’s invitations create a sense of shared purpose, urging everyone to participate in the communal glorification of God.
Literary Works Similar to “Angels We Have Heard on High”
  1. “Hark! The Herald Angels Sing” by Charles Wesley
    Both poems celebrate the joyous proclamation of Christ’s birth through angelic voices.
  2. “It Came Upon the Midnight Clear” by Edmund Sears
    This poem similarly focuses on the angelic message of peace and joy to the world at Christ’s birth.
  3. “While Shepherds Watched Their Flocks by Night” by Nahum Tate
    Like “Angels We Have Heard on High,” this poem centers on the shepherds receiving the divine announcement of Christ’s birth.
  4. “O Holy Night” by Placide Cappeau
    Both poems convey a sense of reverence and awe at the birth of Christ, with calls for worship and adoration.
  5. “The First Noel” (Traditional)
    This poem shares the theme of angelic revelation to shepherds, emphasizing the joyous news of Christ’s birth.
Suggested Readings: “Angels We Have Heard on High”
  1. Drury, John. Music at Midnight: The Life and Poetry of George Herbert. Chicago University Press, 2013.
  2. Peterson, William J. The Complete Book of Hymns. Tyndale House Publishers, 2006.
  3. Nutter, Charles S. The Hymns and Hymn Writers of the Church. Methodist Book Concern, 1911.
  4. Hatch, Jane M. The American Christmas Songbook. Houghton Mifflin, 1991.
Representative Quotations of “Angels We Have Heard on High”
QuotationContextTheoretical Perspective
“Angels we have heard on high”Opening line, introduces the angelic presence celebrating Christ’s birth.Religious Symbolism – Angels symbolize divine messengers.
“Sweetly singing o’er the plains”Describes the angels joyfully singing across the plains, signifying their joy.Natural Imagery – Connecting divine joy with nature.
“And the mountains in reply”Depicts nature echoing the angels’ song, symbolizing unity of creation in worship.Ecocriticism – The natural world responding to divinity.
“Gloria, in excelsis Deo!”Refrain that emphasizes glory to God in the highest.Liturgical Praise – Traditional Christian worship element.
“Shepherds, why this jubilee?”Questioning the shepherds’ reaction to the angelic announcement of Christ’s birth.Divine Revelation – Revelation to the humble.
“What the gladsome tidings be”Reflects on the joyful news the angels are bringing to the shepherds.Hermeneutics – Interpreting divine messages and meaning.
“Come to Bethlehem and see”Invitation to witness Christ’s birth, a central moment in Christian worship.Pilgrimage – Theological journey to the sacred site.
“Christ the Lord, the new-born King”Proclamation of Christ’s divine kingship, central to Christian theology.Christology – Exploration of the nature of Christ.
“Jesus, Lord of heav’n and earth!”Declares Jesus’ dominion over both the celestial and terrestrial realms.Theology of Kingship – Divine rule over heaven and earth.
“Sing with us our Savior’s birth”Call for collective worship, inviting the reader to join in the celebration of Christ’s birth.Communal Worship – Emphasis on shared spiritual experience.

“Language in Everything to Declare” by Ngũgĩ wa Thiong’o: Summary and Critique

“Language in Everything to Declare” by Ngũgĩ wa Thiong’o was published in the 2010 issue of Wasafiri (volume 25, number 3).

"Language in Everything to Declare" by Ngũgĩ wa Thiong'o: Summary and Critique
Introduction: “Language in Everything to Declare” by Ngũgĩ wa Thiong’o

“Language in Everything to Declare” by Ngũgĩ wa Thiong’o was published in the 2010 issue of Wasafiri (volume 25, number 3). This influential piece explores the multifaceted role of language in shaping identity, power, and resistance within postcolonial contexts. Thiong’o’s insights have significantly contributed to the fields of literary theory and postcolonial studies, challenging traditional notions of canon formation and advocating for the recognition of marginalized voices.

 Summary of “Language in Everything to Declare” by Ngũgĩ wa Thiong’o

1. The Significance of Language in Identity and Literature

  • Ngũgĩ wa Thiong’o discusses the importance of language in shaping identity, particularly for writers from Africa, Asia, and Latin America, who navigate their native and European languages.
    • “A pilgrim, traversing many lands and cultures, negotiates the way through any number of languages.”

2. Language and Literary Visibility in the Global Context

  • He emphasizes the growing visibility of non-Western writers in the global literary landscape, especially African writers who confidently incorporate diverse cultural perspectives.
    • “It is impossible to talk about the global literary scene without bringing those writers into the equation.”

3. Challenges of Language Among African Writers

  • Ngũgĩ explores the struggles faced by African writers who often prioritize English over their native languages, feeling pressure from a globalized literary scene.
    • “The language issue remains problematic for the new generation, as it was for my generation of the 1960s.”

4. The Cultural Alienation of African Languages

  • He recounts an experience with young Nigerian writers, highlighting their alienation from their own languages, as they found it easier to write in English than in their mother tongues.
    • “English had literally created a wall between them and their own languages.”

5. Linguistic Feudalism and its Global Impact

  • Ngũgĩ introduces the concept of linguistic feudalism, where languages are ranked hierarchically, with European languages at the top and others regarded as inferior.
    • “Linguistic feudalism sees languages arranged in order of the nobility of being.”

6. Language as a Tool for Political and Cultural Unity

  • He critiques the belief that European languages unite nations, pointing out that they often create social and cultural divisions, particularly in multilingual societies.
    • “English held Nigeria together; there was no Nigeria without English.”

7. The Power of Translation in Cultural Exchange

  • Ngũgĩ argues that translation is a vital tool for bridging linguistic and cultural divides, fostering a deeper exchange of ideas between African and non-African cultures.
    • “Translation between and among languages is what makes possible the traffic of ideas.”

8. A Vision for Restoring African Languages

  • He envisions a restoration of African languages through translations, not just within Africa, but also from other world literatures, creating a global dialogue.
    • “I see possible translations between African languages themselves.”

9. The Role of Language and Culture in Human Knowledge

  • Finally, Ngũgĩ stresses that the survival of languages is essential for the preservation of human knowledge, arguing that the loss of a language diminishes humanity.
    • “The death of any language is the death of a piece of humanity.”
Literary Terms/Concepts in “Language in Everything to Declare” by Ngũgĩ wa Thiong’o
Literary Term/ConceptExplanationReference/Quotation
Linguistic FeudalismA hierarchical system where languages are ranked based on perceived nobility or value, with European languages often seen as superior.“Linguistic feudalism sees languages arranged in order of the nobility of being, the noblest occupying the higher realm and the lesser ones … descending.”
Cultural AlienationThe detachment or estrangement from one’s own culture and language due to the dominance of foreign languages and cultures.“English had literally created a wall between them and their own languages.”
Translation as Cultural ExchangeThe role of translation in facilitating the exchange of ideas and knowledge across cultures and languages, enabling mutual enrichment.“Translation between and among languages is what makes possible the traffic of ideas.”
Europhone African LiteratureLiterature written by African writers in European languages, reflecting the dominance of colonial languages over African literary expression.“What currently goes by the name African Literature is a complete misnomer… I call it Europhone African Literature.”
Linguistic DarwinismThe idea that stronger, dominant languages survive by marginalizing or eliminating weaker languages, similar to natural selection in biology.“Linguistic feudalism leads to linguistic Darwinism, the survival of the fittest, the strong feeding on the weak.”
Restoration of African LanguagesThe vision of reviving and empowering African languages through translation and literary engagement, preserving their individuality.“I see possible translations between African languages themselves.”
Global Literary DialogueThe concept of fostering a worldwide conversation between literatures of different cultures and languages, enhancing global cultural understanding.“A global human culture is dependent on the richness of all languages and not on a predatory few.”
Monolingualism vs. MultilingualismThe contrast between the use of a single language as a unifying force in nations versus the use of multiple languages that reflect diverse cultural identities.“The centripetal character of a single language and centrifugal character of the many is taken as a norm.”
Linguistic and Cultural HierarchyThe notion that certain languages and cultures are seen as more valuable or civilized, while others are viewed as inferior or barbaric.“Some cultures are seen as constituting an aristocracy… Others are arranged in a descending order of value down to the tribal and the barbaric.”
Contribution of “Language in Everything to Declare” by Ngũgĩ wa Thiong’o to Literary Theory/Theories

1. Postcolonial Theory – Decolonizing Language and Identity

  • Ngũgĩ wa Thiong’o addresses postcolonial theory by emphasizing the need to decolonize African languages and reject the dominance of European languages imposed during colonialism. He argues for the reclamation of indigenous languages as an essential part of identity and resistance to colonial power structures.
    • “English had literally created a wall between them and their own languages.”

2. Linguistic Relativity in Cultural Theory

  • Ngũgĩ contributes to cultural theory by supporting the idea of linguistic relativity, which holds that language shapes thought and cultural identity. He emphasizes that losing a language means losing a unique way of understanding and interacting with the world.
    • “The death of any language is the death of a piece of humanity.”

3. Translation Studies – Translation as Equal Cultural Exchange

  • Ngũgĩ critiques traditional views in translation studies, which often treat translation as a means of dominance (usually from European languages to others), and instead promotes translation as a tool for equal cultural exchange and dialogue between languages.
    • “Translation between and among languages is what makes possible the traffic of ideas through the network, within a nation, between nations, or even across the globe.”

4. Hegemony in Gramscian Theory

  • Drawing on Gramsci’s theory of cultural hegemony, Ngũgĩ critiques the dominance of European languages in global and national contexts. He sees language as a site of power struggle, where European languages are imposed as “unifying,” while African languages are marginalized as divisive.
    • “European languages were inherently unifying; African languages were inherently divisive.”

5. Linguistic Imperialism – Phillipson’s Theory

  • Ngũgĩ aligns with Robert Phillipson’s theory of linguistic imperialism, criticizing the way English (and other European languages) is privileged in postcolonial societies, contributing to cultural and linguistic hierarchies.
    • “In the globe today, European languages form the linguistic aristocracy… This pattern of language relationships is reproduced also within nations.”

6. Poststructuralism – Challenging Linguistic Hierarchies

  • In line with poststructuralist theory, Ngũgĩ challenges the fixed, hierarchical relationships between languages, arguing for a deconstruction of the binary opposition between dominant (European) and marginalized (African) languages. He proposes a network model where all languages contribute equally to global cultural production.
    • “We need to collapse the hierarchy and instead look at the relationship in terms of a network. In a network, there is no single centre.”

7. Multilingualism and Nation-Building in Nationalism Studies

  • Ngũgĩ critiques the common nationalist notion that monolingualism promotes national unity, contributing to nationalism studies by advocating for multilingualism as a more inclusive and accurate reflection of the cultural diversity within postcolonial nations.
    • “The centripetal character of a single language and centrifugal character of the many is taken as a norm.”

8. Linguistic Human Rights Theory

  • In line with linguistic human rights theory, Ngũgĩ argues for the right to linguistic diversity, asserting that people have the right to access education, literature, and media in their native languages. He views linguistic suppression as a violation of cultural and human rights.
    • “The assumed African language barriers were not okay… A linguistic class wall had been accepted as the norm.”

9. Globalization Theory – Language in a Globalized World

  • Ngũgĩ’s work contributes to globalization theory, particularly its critique of cultural homogenization. He argues that European languages have been globalized at the expense of local languages, and calls for a rebalancing where African and other marginalized languages play a more prominent role in global cultural exchange.
    • “A global human culture is dependent on the richness of all languages and not on a predatory few.”
Examples of Critiques Through “Language in Everything to Declare” by Ngũgĩ wa Thiong’o
Literary WorkCritique through Ngũgĩ wa Thiong’o’s ConceptsRelevant Concepts from “Language in Everything to Declare”Quotations from “Language in Everything to Declare”
Things Fall Apart by Chinua AchebeAchebe uses English to reach a global audience but maintains an African worldview. Ngũgĩ might critique the use of English, advocating for Igbo instead.Linguistic Feudalism and Cultural Alienation“English had literally created a wall between them and their own languages.”
Half of a Yellow Sun by Chimamanda Ngozi AdichieWhile Adichie’s work showcases African history, Ngũgĩ may argue that writing in English limits the cultural authenticity and promotes linguistic imperialism.Postcolonial Theory and Linguistic Imperialism“Marginalisation and eventual exclusion of a language from economic, political and cultural life leads to its death.”
One Hundred Years of Solitude by Gabriel García MárquezMárquez’s use of Spanish for Latin American narratives fits Ngũgĩ’s vision of resisting linguistic hegemony by writing in one’s native language.Cultural Resistance and Restoration of Indigenous Languages“Translation as the way to bridge linguistic and cultural divides among African languages without them losing their individualities.”
Beloved by Toni MorrisonMorrison’s depiction of African American history in English might be critiqued by Ngũgĩ for reinforcing the dominance of European languages over African narratives.Linguistic Darwinism and Linguistic Human Rights Theory“The death of any language is the death of a piece of humanity.”
Criticism Against “Language in Everything to Declare” by Ngũgĩ wa Thiong’o

1. Overemphasis on Language as the Sole Medium of Cultural Identity

  • Critics might argue that Ngũgĩ places too much importance on language as the key to cultural identity, neglecting other forms of cultural expression (e.g., music, art, customs) that are equally significant in preserving a people’s heritage.

2. Idealization of Indigenous Languages

  • Ngũgĩ’s emphasis on writing in African languages may be seen as idealistic, given the practical challenges of literacy rates, publishing infrastructure, and the global market for literature, which are heavily dominated by European languages.

3. Underestimation of English’s Global Role in Communication

  • Critics may contend that Ngũgĩ underestimates the unifying role that English (and other colonial languages) play as a global lingua franca, especially in multicultural nations where multiple indigenous languages coexist.

4. Lack of Focus on Bilingual or Multilingual Solutions

  • The article largely advocates for prioritizing indigenous languages over colonial ones but could be criticized for not offering more nuanced solutions, such as bilingual or multilingual approaches, that could preserve both indigenous and global linguistic engagement.

5. Romanticization of Pre-Colonial Linguistic Purity

  • Some may criticize Ngũgĩ for romanticizing pre-colonial linguistic situations, overlooking the fact that language evolution, borrowing, and exchange are natural processes, and even indigenous languages are influenced by other cultures and languages.

6. Oversimplification of Translation as a Solution

  • While Ngũgĩ champions translation as a tool for bridging linguistic divides, critics might argue that translation alone cannot fully capture the nuances of original texts, and relying on it may not solve deeper issues of linguistic hierarchy and cultural dominance.

7. Limited Consideration of Global Literary Networks

  • The focus on African languages in Ngũgĩ’s vision might be seen as too narrow in the context of global literature. Critics may argue that his framework does not fully engage with the realities of international publishing, where writers seek global readership and recognition.
Representative Quotations from “Language in Everything to Declare” by Ngũgĩ wa Thiong’o with Explanation
QuotationExplanation
1. “English had literally created a wall between them and their own languages.”Ngũgĩ illustrates how the dominance of English alienates African writers from their native languages, reinforcing linguistic and cultural separation.
2. “Linguistic feudalism sees languages arranged in order of the nobility of being, the noblest occupying the higher realm.”He critiques the hierarchical valuation of languages, where European languages are seen as superior and indigenous languages as inferior, rooted in colonial history.
3. “The death of any language is the death of a piece of humanity.”This statement emphasizes that when a language dies, it takes with it a unique worldview, history, and knowledge, thus diminishing human cultural diversity.
4. “Translation between and among languages is what makes possible the traffic of ideas through the network, within a nation, between nations.”Ngũgĩ highlights the importance of translation as a means of cultural and intellectual exchange, allowing languages to mutually enrich each other across borders.
5. “Marginalisation and eventual exclusion of a language from economic, political and cultural life leads to its death.”He stresses that when a language is excluded from essential sectors of society, it faces extinction, as it loses its functionality and relevance in everyday life.
6. “European languages were inherently unifying; African languages were inherently divisive.”Ngũgĩ critiques the colonial-era narrative that promoted European languages as unifying forces while portraying African languages as sources of division, which further marginalized indigenous tongues.
7. “I see possible translations between African languages themselves.”This expresses Ngũgĩ’s vision for cross-cultural exchange within Africa, where African languages interact and grow through translation, fostering a pan-African literary and cultural dialogue.
8. “A global human culture is dependent on the richness of all languages and not on a predatory few.”He advocates for a global culture that values all languages equally, rather than being dominated by a few powerful languages, which he sees as detrimental to cultural diversity.
9. “Linguistic feudalism leads to linguistic Darwinism, the survival of the fittest, the strong feeding on the weak.”Ngũgĩ extends his concept of linguistic feudalism into linguistic Darwinism, where dominant languages thrive by suppressing weaker ones, drawing parallels to survival of the fittest in evolution.
10. “Monolingualism is seen as constituting a cohesive nation state, with smaller regional languages pulling it apart.”He challenges the assumption that monolingualism unifies nations, arguing instead for the acceptance of multilingualism as a true reflection of national and cultural diversity.

Suggested Readings: “Language in Everything to Declare” by Ngũgĩ wa Thiong’o

Books

  1. Achebe, Chinua. Things Fall Apart. Anchor Books, 1994.
    https://www.penguinrandomhouse.com/books/55515/things-fall-apart-by-chinua-achebe/
  2. Adichie, Chimamanda Ngozi. Half of a Yellow Sun. Alfred A. Knopf, 2006.
    https://www.penguinrandomhouse.com/books/2021/half-of-a-yellow-sun-by-chimamanda-ngozi-adichie/
  3. Ngũgĩ wa Thiong’o. Decolonising the Mind: The Politics of Language in African Literature. Heinemann, 1986.
    https://www.penguinrandomhouse.com/books/601669/decolonising-the-mind-by-ngugi-wa-thiongo/
  4. Said, Edward. Culture and Imperialism. Alfred A. Knopf, 1993.
    https://www.penguinrandomhouse.com/books/156178/culture-and-imperialism-by-edward-w-said/
  5. Spivak, Gayatri Chakravorty. Can the Subaltern Speak? Reflections on the History of an Idea. Columbia University Press, 1988.
    https://cup.columbia.edu/book/can-the-subaltern-speak/9780231143853

Academic Articles

  1. Ashcroft, Bill, et al. “The Empire Writes Back: Theory and Practice in Post-Colonial Literatures.” Routledge, 2002.
    https://www.taylorfrancis.com/books/mono/10.4324/9780203426081/empire-writes-back-bill-ashcroft-gareth-griffiths-helen-tiffin
  2. Mignolo, Walter D. “The Geopolitics of Knowledge and the Colonial Difference.” The South Atlantic Quarterly, vol. 101, no. 1, Winter 2002, pp. 57–96.
    https://read.dukeupress.edu/south-atlantic-quarterly/article/101/1/57/3411/The-Geopolitics-of-Knowledge-and-the-Colonial
  3. Makoni, Sinfree, and Alastair Pennycook. “Disinventing and Reconstituting Languages.” Critical Inquiry in Language Studies, vol. 2, no. 3, 2005, pp. 137-156.
    https://www.tandfonline.com/doi/abs/10.1207/s15427587clis0203_1

Websites

  1. Ngũgĩ wa Thiong’o – Official Website http://www.ngugiwathiongo.com/
  2. Postcolonial Studies @ Emory University http://postcolonialstudies.emory.edu/
  3. Wasafiri – The Magazine for International Contemporary Writing https://www.wasafiri.org/

“Hark! The Herald Angels Sing” by Charles Wesley: A Critical Analysis

“Hark! The Herald Angels Sing” by Charles Wesley, an iconic hymn, first appeared in 1739 in the collection “Hymns and Sacred Poems.”

"Hark! The Herald Angels Sing" by Charles Wesley: A Critical Analysis
Introduction: “Hark! The Herald Angels Sing” by Charles Wesley

“Hark! The Herald Angels Sing” by Charles Wesley, an iconic hymn, first appeared in 1739 in the collection “Hymns and Sacred Poems.” This beloved Christmas carol is celebrated for its joyful melody and its powerful message of peace and reconciliation. The hymn’s lyrics, inspired by Luke 2:14, proclaim the birth of Jesus Christ and the hope of salvation for all humanity. Its enduring popularity is a testament to its ability to capture the spirit of Christmas and inspire believers around the world.

Text: “Hark! The Herald Angels Sing” by Charles Wesley

1 Hark! the herald angels sing,
“Glory to the newborn King:
peace on earth, and mercy mild,
God and sinners reconciled!”
Joyful, all ye nations, rise,
join the triumph of the skies;
with th’angelic hosts proclaim,
“Christ is born in Bethlehem!”

Refrain:
Hark! the herald angels sing,
“Glory to the newborn King”

2 Christ, by highest heaven adored,
Christ, the everlasting Lord,
late in time behold him come,
offspring of the Virgin’s womb:
veiled in flesh the Godhead see;
hail th’incarnate Deity,
pleased with us in flesh to dwell,
Jesus, our Immanuel. [Refrain]

3 Hail the heaven-born Prince of Peace!
Hail the Sun of Righteousness!
Light and life to all he brings,
risen with healing in his wings.
Mild he lays his glory by,
born that we no more may die,
born to raise us from the earth,
born to give us second birth. [Refrain]

Annotations: “Hark! The Herald Angels Sing” by Charles Wesley
Line NumberTextAnnotation
1Hark! the herald angels sing,A sudden, attention-grabbing call to listen.
2“Glory to the newborn King:The angels proclaim the glory of the newborn King.
3peace on earth, and mercy mild,The message of peace and mercy brought by the King.
4God and sinners reconciled!”The reconciliation of God and humanity through Christ.
5Joyful, all ye nations, rise,A call to all nations to join in rejoicing.
6join the triumph of the skies;A reference to the heavenly celebration.
7with th’angelic hosts proclaim,A call to join the angels in proclaiming the good news.
8“Christ is born in Bethlehem!”The central message of the hymn: the birth of Christ.
9Refrain:The repeated chorus.
10Hark! the herald angels sing,Repeats the opening line, emphasizing the message.
11“Glory to the newborn King”Repeats the core message of the hymn.
12Christ, by highest heaven adored,Emphasizes the divine nature of Christ.
13Christ, the everlasting Lord,Further emphasizes the eternal nature of Christ.
14late in time behold him come,Refers to the long-awaited coming of the Messiah.
15offspring of the Virgin’s womb:Highlights the miraculous birth of Christ.
16veiled in flesh the Godhead see;Emphasizes the incarnation of God in human form.
17hail th’incarnate Deity,A call to praise the God-man.
18pleased with us in flesh to dwell,Emphasizes God’s love and willingness to dwell among humanity.
19Jesus, our Immanuel.The name “Immanuel” means “God with us.”
20Refrain:Repeats the chorus.
21Hail the heaven-born Prince of Peace!Praises Christ as the Prince of Peace.
22Hail the Sun of Righteousness!Emphasizes Christ’s role as the source of righteousness.
23Light and life to all he brings,Highlights the transformative power of Christ.
24risen with healing in his wings.Emphasizes Christ’s ability to heal and restore.
25Mild he lays his glory by,Emphasizes Christ’s humility and sacrifice.
26born that we no more may die,Emphasizes the purpose of Christ’s birth: to save humanity from death.
27born to raise us from the earth,Emphasizes Christ’s power to resurrect the dead.
28born to give us second birth.Emphasizes the spiritual transformation that Christ brings.
29Refrain:Repeats the chorus.
Literary And Poetic Devices: “Hark! The Herald Angels Sing” by Charles Wesley
DeviceDefinitionExampleExplanation
AlliterationThe repetition of the same consonant sound at the beginning of words.“Hark! the herald angels sing”The repetition of the “h” sound creates a sense of urgency and attention-grabbing quality.
AnaphoraThe repetition of a word or phrase at the beginning of successive clauses or sentences.“Christ, by highest heaven adored, Christ, the everlasting Lord”The repetition of “Christ” emphasizes the importance of the central figure.
AntithesisThe juxtaposition of contrasting ideas or images.“peace on earth, and mercy mild”The contrast between peace and mercy emphasizes the positive impact of Christ’s birth.
AssonanceThe repetition of vowel sounds within words.“Hail the heaven-born Prince of Peace!”The repetition of the “a” sound creates a melodic quality.
HyperboleExaggeration for emphasis or effect.“Joyful, all ye nations, rise”The call for all nations to rise emphasizes the universal joy and celebration.
ImageryThe use of vivid language to create mental images.“Light and life to all he brings”The imagery of light and life suggests the transformative power of Christ.
IronyA figure of speech where the intended meaning is different from the literal meaning.(Not applicable in this poem)Irony is not used in this poem.
MetaphorA comparison between two unlike things without using “like” or “as.”“Hail the Sun of Righteousness!”Christ is compared to the sun, symbolizing his light and warmth.
MetonymyThe use of the name of one thing to represent something closely associated with it.“with th’angelic hosts proclaim”“Hosts” refers to the angels.
OnomatopoeiaThe use of words that imitate the sounds they represent.(Not applicable in this poem)Onomatopoeia is not used in this poem.
OxymoronA figure of speech combining contradictory terms.(Not applicable in this poem)Oxymorons are not used in this poem.
ParallelismThe use of similar grammatical structures to express related ideas.“Hark! the herald angels sing, “Glory to the newborn King”The parallel structure emphasizes the message of the chorus.
PersonificationGiving human qualities to non-human things.(Not applicable in this poem)Personification is not used in this poem.
PunA play on words, often based on similar-sounding words.(Not applicable in this poem)Puns are not used in this poem.
RepetitionThe repeated use of words, phrases, or sounds.“Hark! the herald angels sing”The repetition of the opening line emphasizes the message.
SimileA comparison between two unlike things using “like” or “as.”(Not applicable in this poem)Similes are not used in this poem.
SymbolismThe use of objects, characters, or events to represent something else.“Christ” represents salvation and hope.The figure of Christ represents the central theme of the poem.
SynecdocheA figure of speech where a part represents the whole.“Hail the heaven-born Prince of Peace!”“Prince” represents Christ as a whole.
ToneThe attitude or feeling expressed by the author.Joyful, triumphant, and celebratory.The overall tone reflects the joyous occasion of Christ’s birth.
UnderstatementA figure of speech where something is expressed as less than it actually is.(Not applicable in this poem)Understatement is not used in this poem.
Themes: “Hark! The Herald Angels Sing” by Charles Wesley
  1. Joy and Celebration: The hymn is filled with expressions of joy and celebration, reflecting the joyous occasion of Christ’s birth. The repeated chorus, “Hark! the herald angels sing, ‘Glory to the newborn King,'” conveys this theme. Additionally, lines like “Joyful, all ye nations, rise” and “Hail the heaven-born Prince of Peace!” reinforce the celebratory mood.
  2. Divine Incarnation: The hymn emphasizes the divine nature of Jesus Christ and his incarnation as a human. Lines like “Christ, by highest heaven adored” and “veiled in flesh the Godhead see” highlight his divine status. The phrase “Immanuel” (God with us) further emphasizes the union of the divine and human.
  3. Salvation and Hope: The hymn presents Christ as the savior of humanity, offering hope and salvation. Lines like “peace on earth, and mercy mild” and “born that we no more may die” convey this theme. The hymn suggests that Christ’s birth brings new life and the possibility of eternal salvation.
  4. Universal Message: The hymn’s message is addressed to all people, regardless of their nationality or social status. Lines like “Joyful, all ye nations, rise” and “Hail the heaven-born Prince of Peace!” emphasize the universality of the message. The hymn suggests that the birth of Christ is a cause for celebration and hope for people everywhere.
Literary Theories and “Hark! The Herald Angels Sing” by Charles Wesley
TheoryKey ConceptsReferences from the PoemExplanation
New CriticismFocuses on the text itself and its internal structure, emphasizing the close reading of the poem.“Hark! the herald angels sing, ‘Glory to the newborn King'”New Criticism would analyze the poem’s structure, imagery, and symbolism to understand its meaning and significance.
DeconstructionChallenges the idea of a single, fixed meaning, emphasizing the instability of language and the multiple interpretations possible.“Christ, by highest heaven adored”Deconstruction might question the fixed meaning of “Christ” and explore the ways in which the poem can be interpreted differently.
Reader-Response TheoryEmphasizes the reader’s role in creating meaning, arguing that the interpretation of a text is subjective and influenced by the reader’s experiences and beliefs.“Joyful, all ye nations, rise”Reader-Response Theory would consider how different readers might interpret the poem based on their own experiences and beliefs about Christmas and religion.
Critical Questions about “Hark! The Herald Angels Sing” by Charles Wesley
  • How does the hymn’s emphasis on joy and celebration relate to the historical context in which it was written?
  • The hymn was written during a time of religious revival and spiritual awakening. The emphasis on joy and celebration may reflect the enthusiasm and optimism that characterized this period. Additionally, the hymn might have been intended to inspire and uplift believers during a time of religious persecution.
  • What is the significance of the imagery of light and darkness in the hymn?
  • The imagery of light and darkness is a common theme in religious literature, often symbolizing good and evil. In this hymn, the imagery of light is associated with Christ and his message of hope and salvation. The darkness, on the other hand, may represent the sin and darkness that existed before Christ’s birth.
  • How does the hymn’s message of universal salvation relate to the cultural and historical context of the 18th century?
  • The hymn’s message of universal salvation was likely influenced by the Enlightenment, a period characterized by a growing emphasis on reason, individualism, and human rights. The idea that salvation was available to all people, regardless of their social or economic status, was a radical and revolutionary concept at the time.
  • How has the hymn’s popularity and enduring appeal changed over time?
  • “Hark! The Herald Angels Sing” has remained a popular and beloved Christmas carol for centuries. Its enduring appeal can be attributed to its catchy melody, powerful message, and ability to capture the spirit of the holiday season. However, the hymn’s interpretation and significance may have evolved over time, reflecting changes in cultural attitudes, religious beliefs, and the understanding of Christmas.
Literary Works Similar to “Hark! The Herald Angels Sing” by Charles Wesley
  1. “Joy to the World” by Isaac Watts: Both celebrate the birth of Jesus Christ with jubilant tones of praise and worship.
  2. “O Holy Night” by Placide Cappeau: Similar in its reverence and awe of the divine birth, expressing profound joy and devotion.
  3. “Angels We Have Heard on High” (Traditional French carol): Like Wesley’s hymn, it emphasizes angelic proclamations of Christ’s birth in a celebratory manner.
  4. “It Came Upon the Midnight Clear” by Edmund Sears: Both poems reflect on the angelic messages delivered on the night of Christ’s birth with a serene yet worshipful mood.
  5. “The First Noel” (Traditional English carol): Shares the same narrative focus on the nativity story, with an emphasis on angels announcing the birth of Jesus.
Suggested Readings: “Hark! The Herald Angels Sing” by Charles Wesley
  1. Wesley, Charles, and George Whitefield. Hymns and Sacred Poems. 4th ed., Bristol, 1754.
  2. Watson, J. R. The English Hymn: A Critical and Historical Study. Oxford University Press, 1997. https://global.oup.com/academic/product/the-english-hymn-9780198262944
  3. Luff, Alan. Hymns and Carols of Christmas: A Study of Wesley’s Hymns. Epworth Press, 2007. https://www.amazon.com/Hymns-Carols-Christmas-Study-Wesleys/dp/0716206054
  4. Webber, Christopher L. Hymnal Companion to the Lutheran Book of Worship. Augsburg Fortress Publishers, 1981.
  5. “Hark! The Herald Angels Sing.” Hymnary.org, Hymnary.org, https://hymnary.org/text/hark_the_herald_angels_sing_glory_to
  6. “The History of ‘Hark! The Herald Angels Sing’.” Learn Religions, Learn Religions,
    https://www.learnreligions.com/hark-the-herald-angels-sing-701067
Representative Quotations of “Hark! The Herald Angels Sing” by Charles Wesley
QuotationContextTheoretical Perspective
“Hark! the herald angels sing, ‘Glory to the newborn King.'”Beginning of the hymn, introducing the main theme of Christ’s birth.New Criticism: This line emphasizes the hymn’s structure and the importance of the central message.
“Peace on earth, and mercy mild, God and sinners reconciled!”Proclaiming the message of peace and reconciliation brought by Christ.Deconstruction: This line could be interpreted in multiple ways, challenging the idea of a fixed meaning.
“Joyful, all ye nations, rise, join the triumph of the skies.”Calling all nations to celebrate and rejoice.Reader-Response Theory: This line might evoke different emotions and interpretations in different readers based on their personal experiences.
“Christ, by highest heaven adored, Christ, the everlasting Lord.”Emphasizing the divine nature of Christ.New Criticism: The repetition of “Christ” highlights the central figure of the hymn and reinforces the theme of divinity.
“Veiled in flesh the Godhead see; hail th’incarnate Deity.”Referring to the incarnation of God in human form.Deconstruction: This line could be interpreted as a challenge to traditional notions of divinity and human nature.
“Hail the heaven-born Prince of Peace! Hail the Sun of Righteousness!”Praising Christ as the source of peace and righteousness.Reader-Response Theory: These lines might evoke feelings of hope and inspiration in readers.
“Light and life to all he brings, risen with healing in his wings.”Emphasizing the transformative power of Christ.New Criticism: The imagery of light and healing reinforces the theme of salvation and redemption.
“Mild he lays his glory by, born that we no more may die.”Referring to Christ’s sacrifice and his role in saving humanity.Deconstruction: This line could be interpreted as a challenge to traditional notions of sacrifice and redemption.
“Born to raise us from the earth, born to give us second birth.”Emphasizing Christ’s power to resurrect the dead and bring spiritual transformation.Reader-Response Theory: These lines might evoke feelings of hope and anticipation in readers.
“Hark! the herald angels sing, ‘Glory to the newborn King.'” (Refrain)The repeated chorus reinforces the main theme of the hymn.New Criticism: The repetition of this line creates a sense of unity and emphasizes the central message.

“Christmas” by George Herbert: A Critical Analysis

“Christmas” by George Herbert, first appeared in 1633 in his collection of poems, The Temple, is known for its lyrical beauty and contemplative tone.

"Christmas" by George Herbert: A Critical Analysis
Introduction: “Christmas” by George Herbert

“Christmas” by George Herbert, first appeared in 1633 in his collection of poems, The Temple, is known for its lyrical beauty and contemplative tone, exploring the profound significance of the Nativity. Herbert uses vivid imagery and metaphors to convey the awe and wonder of Christ’s birth, emphasizing the divine mystery and humility of the Savior. The poem’s central theme is the incarnation of God, the divine becoming human, and its impact on humanity. Herbert invites readers to contemplate the profound mystery of Christmas and its transformative power.

Text: “Christmas” by George Herbert

Christmas-I

  After all pleasures as I rid one day,
My horse and I, both tired, body and mind,
With full cry of affections, quite astray;
I took up the next inn I could find.

There when I came, whom found I but my dear,
My dearest Lord, expecting till the grief
Of pleasures brought me to Him, ready there
To be all passengers’ most sweet relief?

Oh Thou, whose glorious, yet contracted light,
Wrapt in night’s mantle, stole into a manger;
Since my dark soul and brutish is Thy right,
To man of all beasts be not Thou a stranger:

Furnish and deck my soul, that Thou mayst have
A better lodging, than a rack, or grave.

Christmas-II

The shepherds sing; and shall I silent be?
      My God, no hymn for Thee?
My soul’s a shepherd too; a flock it feeds
      Of thoughts, and words, and deeds.
The pasture is Thy word: the streams, Thy grace
      Enriching all the place.
Shepherd and flock shall sing, and all my powers
      Outsing the daylight hours.
Then will we chide the sun for letting night
      Take up his place and right:
We sing one common Lord; wherefore he should
      Himself the candle hold.
I will go searching, till I find a sun
      Shall stay, till we have done;
A willing shiner, that shall shine as gladly,
      As frost-nipped suns look sadly.
Then will we sing, and shine all our own day,
      And one another pay:
His beams shall cheer my breast, and both so twine,
Till ev’n His beams sing, and my music shine.

Annotations: “Christmas” by George Herbert
StanzaAnnotation
Christmas – I: Stanza 1The speaker, tired from worldly pleasures and the burdens of life, stops at an inn while traveling. This symbolizes a moment of reflection and spiritual exhaustion. The “full cry of affections” represents being led astray by material desires.
Christmas – I: Stanza 2At the inn, the speaker encounters his “dearest Lord” (Jesus), who is waiting for him with grace and mercy. This suggests that divine comfort is always present, patiently waiting for those who are burdened by the griefs of life to turn back to God.
Christmas – I: Stanza 3The speaker reflects on the humility of Christ, whose light came into the world in a lowly manger. The metaphor of “night’s mantle” signifies darkness and sin, while the “glorious light” symbolizes Jesus. The speaker acknowledges that, despite his own brutish soul, Christ belongs to all humanity.
Christmas – I: Stanza 4The speaker prays for his soul to be cleansed and made worthy for Christ’s presence. He asks for spiritual renewal so that his soul may serve as a proper “lodging” for Christ, rather than the soul being a place of suffering (the “rack” or grave).
Christmas – II: Stanza 1The speaker recognizes that the shepherds sang hymns at Christ’s birth, and he questions whether he, too, should remain silent. He feels that, like a shepherd, his soul also tends to thoughts, words, and deeds, which should praise God as the shepherds did.
Christmas – II: Stanza 2The speaker declares that his thoughts are nourished by God’s word (“The pasture is Thy word”) and God’s grace (“The streams, Thy grace”). This nourishment enriches the soul, much like how literal pastures and streams nourish the physical flock.
Christmas – II: Stanza 3The speaker resolves that both his soul (the shepherd) and his deeds (the flock) will sing praises to God throughout the day, surpassing the hours of daylight. He expresses the desire to praise God so fervently that even the sun would be chastised for allowing the night to interrupt.
Christmas – II: Stanza 4The speaker continues his metaphor, suggesting that he will search for a light that will not fade (symbolizing eternal divine presence). He contrasts this with the sun, which looks “sadly” when affected by frost (a metaphor for the transient and weakening nature of earthly light).
Christmas – II: Stanza 5The speaker envisions a future where the divine light (Christ) will cheer his soul, and the beams of divine grace will intertwine with his own music of praise. This suggests a union of divine light and human worship, where both God’s grace and the speaker’s praise glorify one another.
Literary And Poetic Devices: “Christmas” by George Herbert
DeviceDefinitionExampleExplanation
AlliterationRepetition of consonant sounds at the beginning of words“My horse and I, both tired, body and mind”Creates a rhythmic effect and emphasizes the speaker’s weariness.
ApostropheAddressing a person or thing that is not present“Oh Thou, whose glorious, yet contracted light”Directly addresses God, creating a personal and intimate tone.
AssonanceRepetition of vowel sounds within words“Wrapt in night’s mantle, stole into a manger”Creates a musical and lyrical quality.
ConsonanceRepetition of consonant sounds within words“Furnish and deck my soul, that Thou mayst have”Adds a rhythmic and pleasing sound to the lines.
EnjambmentThe continuation of a sentence or thought across multiple lines“My horse and I, both tired, body and mind, With full cry of affections, quite astray”Creates a sense of urgency and forward movement.
HyperboleExaggeration for effect“Outsing the daylight hours”Emphasizes the intensity of the speaker’s singing.
ImageryThe use of vivid language to create mental images“A better lodging, than a rack, or grave”Paints a picture of the speaker’s soul as a place that needs improvement.
IronyA contrast between what is expected or intended and what actually happens“Then will we chide the sun for letting night Take up his place and right”The speaker playfully criticizes the sun for allowing night to take over.
MetaphorA comparison between two unlike things without using “like” or “as”“My soul’s a shepherd too”Compares the speaker’s soul to a shepherd, suggesting a responsibility for guiding their thoughts and actions.
MetonymyThe use of the name of one thing to represent something closely associated with it“His beams shall cheer my breast”The “beams” represent the light and warmth of God’s love.
ParadoxA statement that seems contradictory but expresses a truth“The pasture is Thy word”Suggests that God’s word provides nourishment and guidance.
PersonificationGiving human qualities to non-human things“The sun for letting night Take up his place and right”The sun is portrayed as having agency and making choices.
RepetitionThe repeated use of words, phrases, or sounds“Then will we sing”Creates a sense of emphasis and rhythm.
Rhetorical QuestionA question asked for effect, not expecting an answer“The shepherds sing; and shall I silent be?”Emphasizes the speaker’s desire to participate in the singing.
SimileA comparison between two unlike things using “like” or “as”“Since my dark soul and brutish is Thy right”Compares the speaker’s soul to a beast.
SymbolismThe use of objects, characters, or events to represent something else“Christmas”The holiday represents the birth of Jesus Christ and the hope of salvation.
SyntaxThe arrangement of words in a sentence“After all pleasures as I rid one day”The inverted syntax creates a sense of emphasis and draws attention to the phrase “all pleasures.”
ThemeThe central idea or message of a literary workThe spiritual journey of the speaker towards a deeper understanding of God and their relationship with Him.
ToneThe attitude of the speaker towards the subject matterThe tone is one of reverence, gratitude, and joy.
VoiceThe distinctive style or personality of the speakerThe voice is reflective, contemplative, and deeply religious.
Themes: “Christmas” by George Herbert
  • Divine Grace and Mercy: One of the central themes in “Christmas” is the idea of divine grace, as the speaker reflects on encountering Christ during a moment of exhaustion and spiritual crisis. In the first part of the poem, the speaker meets his “dearest Lord” at an inn, where Christ is waiting, ready to offer “sweet relief” (I.8) to those burdened by the griefs of life. This suggests the ever-present mercy of God, who is willing to forgive and comfort those who stray but return with contrition.
  • Humility and the Incarnation: Another significant theme is the humility of Christ’s birth, which is emphasized in the speaker’s reflection on Christ’s entry into the world. Christ’s “glorious, yet contracted light” (I.9), wrapped in the “mantle” of night, symbolizes the humility of His birth in a manger. The speaker marvels at how divine light entered the world in such a humble manner, contrasting the greatness of Christ’s divinity with His lowly human circumstances. This emphasizes the theme of God’s willingness to lower Himself for the sake of humanity.
  • Spiritual Renewal and Preparation: The speaker also explores the theme of spiritual renewal, as he prays for his soul to be cleansed and prepared as a proper dwelling for Christ. In the first part of the poem, he asks for his soul to be “furnish[ed] and deck[ed]” (I.13) so that it may be a fitting home for the divine, rather than a place of suffering like a “rack” or “grave.” This reflects the idea that individuals must actively prepare their souls to receive God’s grace, much like preparing a physical space for an honored guest.
  • Praise and Worship: The theme of praise is central in the second part of the poem, as the speaker reflects on the shepherds who sang hymns at Christ’s birth. The speaker, recognizing his own soul as a shepherd of thoughts, words, and deeds, declares that he, too, must join in worship and sing praises to God (II.1-6). He imagines his soul and all his powers united in worship, “outsing[ing] the daylight hours” (II.7), demonstrating the boundless devotion and joy that worship can bring to the soul. This theme emphasizes the importance of continuous praise as a response to God’s grace.
Literary Theories and “Christmas” by George Herbert
Literary TheoryDefinitionApplicable to “Christmas”Reference
Metaphysical PoetryA literary movement characterized by its intellectual and philosophical exploration, often using complex metaphors and conceits.Herbert’s poem is a prime example of metaphysical poetry, with its intricate comparisons and philosophical musings.“My soul’s a shepherd too; a flock it feeds”
Religious PoetryPoetry that expresses spiritual or religious beliefs, often exploring themes of faith, sin, and salvation.“Christmas” is clearly a religious poem, focusing on the birth of Jesus Christ and the speaker’s spiritual journey.“Oh Thou, whose glorious, yet contracted light, Wrapt in night’s mantle, stole into a manger”
SymbolismThe use of objects, characters, or events to represent something else.The poem is rich in symbolism, with Christmas representing the birth of Christ and the speaker’s soul representing the human condition.“Christmas-I” and “Christmas-II”
Critical Questions about “Christmas” by George Herbert

·       How does Herbert use the metaphor of the shepherd and the flock to explore the relationship between the individual and God?

  • Herbert employs the shepherd-flock metaphor to illustrate the spiritual guidance and protection God provides to believers. The speaker’s soul, likened to a shepherd, is responsible for tending to a flock of thoughts, words, and deeds. This metaphor underscores the idea that individuals have a role to play in their spiritual growth, but they also rely on God’s divine guidance.

·       What is the significance of the contrast between darkness and light in the poem?

  • The contrast between darkness and light is a central theme in “Christmas.” The darkness of the night symbolizes sin and ignorance, while the light represents God’s grace and revelation. Herbert uses this contrast to highlight the transformative power of Christ’s birth and the need for individuals to embrace the light of God’s love.

·       How does Herbert’s use of poetic devices contribute to the overall meaning and impact of the poem?

  • Herbert’s skillful use of poetic devices, such as metaphors, similes, and alliteration, enhances the poem’s impact and helps to convey complex ideas in a vivid and memorable way. For instance, the metaphor of the soul as a shepherd creates a powerful image of spiritual responsibility, while the alliteration in lines like “My horse and I, both tired, body and mind” reinforces the speaker’s sense of weariness and longing.

·       How does the poem’s structure and organization contribute to its overall meaning?

  • The poem’s division into two parts, “Christmas-I” and “Christmas-II,” reflects the speaker’s spiritual journey. The first part focuses on the speaker’s recognition of their own spiritual need, while the second part celebrates the joy and peace that comes from embracing God’s love. This structure helps to create a sense of progression and resolution, culminating in a celebration of the divine.
Literary Works Similar to “Christmas” by George Herbert
  1. “The Collar” by George Herbert – Like “Christmas,” this poem explores themes of spiritual struggle and eventual submission to God’s will, reflecting the tension between worldly distractions and divine grace.
  2. “A Hymn to God the Father” by John Donne – This poem shares with “Christmas” the theme of seeking forgiveness and grace, as the speaker confesses his sins and looks to God for mercy and spiritual renewal.
  3. “On the Morning of Christ’s Nativity” by John Milton – Both Milton’s poem and “Christmas” focus on the humble birth of Christ, celebrating the Incarnation and the divine grace that entered the world through it.
  4. “Love (III)” by George Herbert – This poem, like “Christmas,” reflects on the speaker’s unworthiness and God’s merciful grace, where the speaker is invited by Love (God) to accept divine forgiveness and companionship.
  5. “The Shepherds” by William Blake – In this poem, as in “Christmas,” the theme of the shepherds rejoicing at the birth of Christ is central, emphasizing the humble and joyous nature of Christ’s arrival and the worship that follows.
Suggested Readings: “Christmas” by George Herbert
  1. Vendler, Helen. The Poetry of George Herbert. Harvard University Press, 1975.
  2. Burden, Dennis H. “George Herbert’s ‘Redemption.’” The Review of English Studies, vol. 34, no. 136, 1983, pp. 446–51. JSTOR, http://www.jstor.org/stable/515543. Accessed 8 Sept. 2024.
  3. Whalen, Robert. “George Herbert’s Sacramental Puritanism.” Renaissance Quarterly, vol. 54, no. 4, 2001, pp. 1273–307. JSTOR, https://doi.org/10.2307/1261973. Accessed 8 Sept. 2024.
  4. Gallagher, Michael P. “Rhetoric, Style, and George Herbert.” ELH, vol. 37, no. 4, 1970, pp. 495–516. JSTOR, https://doi.org/10.2307/2872379. Accessed 8 Sept. 2024.
  5. Ray, Robert H., and George Herbert. “The Herbert Allusion Book: Allusions to George Herbert in the Seventeenth Century.” Studies in Philology, vol. 83, no. 4, 1986, pp. i–182. JSTOR, http://www.jstor.org/stable/4174252. Accessed 8 Sept. 2024.
  6. Boyd, Malcolm. George Herbert: A Literary Life. Palgrave Macmillan, 2005.
Representative Quotations of “Christmas” by George Herbert
QuotationContextTheoretical Perspective
“After all pleasures as I rid one day”The speaker’s journey towards spiritual enlightenment.Metaphysical Poetry
“My dearest Lord, expecting till the grief Of pleasures brought me to Him”The speaker’s recognition of their spiritual need.Religious Poetry
“Oh Thou, whose glorious, yet contracted light, Wrapt in night’s mantle, stole into a manger”The birth of Jesus Christ as a symbol of divine grace.Symbolism
“Since my dark soul and brutish is Thy right”The speaker’s acknowledgment of their own sinfulness.Religious Poetry
“Furnish and deck my soul, that Thou mayst have A better lodging, than a rack, or grave”The speaker’s prayer for spiritual renewal.Metaphysical Poetry
“My soul’s a shepherd too; a flock it feeds”The metaphor of the soul as a shepherd, responsible for guiding spiritual growth.Metaphysical Poetry
“The pasture is Thy word: the streams, Thy grace Enriching all the place”God’s word and grace as sources of spiritual nourishment.Religious Poetry
“Then will we chide the sun for letting night Take up his place and right”The speaker’s playful critique of the natural world.Metaphysical Poetry
“I will go searching, till I find a sun Shall stay, till we have done”The speaker’s longing for a lasting source of spiritual light.Religious Poetry
“His beams shall cheer my breast, and both so twine, Till ev’n His beams sing, and my music shine”The ultimate harmony between the speaker and God.Metaphysical Poetry

“Angels from the Realms of Glory” by James Montgomery: A Critical Analysis

“Angels from the Realms of Glory” by James Montgomery first appeared in the Sheffield Iris on Christmas Eve 1816.

"Angels from the Realms of Glory" by James Montgomery: A Critical Analysis
Introduction: “Angels from the Realms of Glory” by James Montgomery

“Angels from the Realms of Glory” by James Montgomery first appeared in the Sheffield Iris on Christmas Eve 1816. It was later included in his 1825 collection, “The Christian Psalmist.” The poem, a beloved Christmas carol, is renowned for its simple yet powerful language that evokes the awe and wonder of the angels’ announcement of Christ’s birth. Its main idea is a call to worship and celebrate the coming of the newborn King, inviting all to join in the heavenly chorus and recognize the significance of this momentous event.

Text: “Angels from the Realms of Glory” by James Montgomery
  1. Angels from the realms of glory,
    Wing your flight o’er all the earth;
    Ye who sang creation’s story
    Now proclaim Messiah’s birth.
    • Refrain:
      Come and worship, come and worship,
      Worship Christ, the newborn King.
  2. Shepherds, in the field abiding,
    Watching o’er your flocks by night,
    God with us is now residing;
    Yonder shines the infant light:
  3. Sages, leave your contemplations,
    Brighter visions beam afar;
    Seek the great Desire of nations;
    Ye have seen His natal star.
  4. Saints, before the altar bending,
    Watching long in hope and fear;
    Suddenly the Lord, descending,
    In His temple shall appear.
  5. Sinners, wrung with true repentance,
    Doomed for guilt to endless pains,
    Justice now revokes the sentence,
    Mercy calls you; break your chains.
  6. Though an Infant now we view Him,
    He shall fill His Father’s throne,
    Gather all the nations to Him;
    Every knee shall then bow down:
  7. All creation, join in praising
    God, the Father, Spirit, Son,
    Evermore your voices raising
    To th’eternal Three in One.
Annotations: “Angels from the Realms of Glory” by James Montgomery
Line NumberLineAnnotation
1Angels from the realms of glory,Invocation of angels from heaven.
2Wing your flight o’er all the earth;Angels are commanded to spread the news.
3Ye who sang creation’s storyReference to angels singing at creation.
4Now proclaim Messiah’s birth.Angels are asked to announce the birth of Jesus.
5Refrain:Beginning of the refrain.
6Come and worship, come and worship,Call to worship Jesus.
7Worship Christ, the newborn King.Emphasizes the importance of worshiping the newborn Jesus.
8Shepherds, in the field abiding,Addressing shepherds who were tending their flocks.
9Watching o’er your flocks by night,Shepherds were keeping watch at night.
10God with us is now residing;Announcement of God’s presence among humans.
11Yonder shines the infant light:The star of Bethlehem is referenced.
12Sages, leave your contemplations,Addressing wise men or magi.
13Brighter visions beam afar;Encouraging the wise men to follow the star.
14Seek the great Desire of nations;Referring to the long-awaited Messiah.
15Ye have seen His natal star.The wise men are reminded of the star they saw.
16Saints, before the altar bending,Addressing religious people who were praying.
17Watching long in hope and fear;Saints were waiting for the Messiah with anticipation and anxiety.
18Suddenly the Lord, descending,Announcement of Jesus’ appearance.
19In His temple shall appear.Jesus will be revealed in the temple.
20Sinners, wrung with true repentance,Addressing sinners who feel remorse for their sins.
21Doomed for guilt to endless pains,Sinners are reminded of the consequences of their sins.
22Justice now revokes the sentence,Assurance of God’s forgiveness.
23Mercy calls you; break your chains.Call for sinners to accept God’s mercy and freedom.
24Though an Infant now we view Him,Acknowledging Jesus’ current appearance.
25He shall fill His Father’s throne,Prophecy of Jesus’ future reign.
26Gather all the nations to Him;Jesus will unite all people.
27Every knee shall then bow down:Universal acknowledgment of Jesus’ authority.
28All creation, join in praisingCall for all beings to praise God.
29God, the Father, Spirit, Son,Referring to the Holy Trinity.
30Evermore your voices raisingA continuous call for praise.
31To th’eternal Three in One.Praising the united nature of God.
Literary And Poetic Devices: “Angels from the Realms of Glory” by James Montgomery
DeviceDefinitionExampleExplanation
AlliterationRepetition of initial consonant sounds in nearby words.“Saints, before the altar bending”The repetition of the ‘b’ sound in “before” and “bending” creates a rhythmic effect.
AllusionA reference to a well-known person, place, event, or text.“Messiah’s birth”Refers to the biblical account of Jesus Christ’s birth, enhancing the spiritual tone of the hymn.
AnaphoraRepetition of a word or phrase at the beginning of lines.“Come and worship, come and worship,”This repetition emphasizes the call to worship, creating a compelling lyrical structure.
AssonanceRepetition of vowel sounds in nearby words.“leave your contemplations”The repetition of the ‘e’ sound in “leave” and “contemplations” adds a melodic quality to the line.
ConsonanceRepetition of consonant sounds within or at the end of words.“watching long in hope and fear”The repetition of the ‘n’ sound in “long,” “in,” and “and” enhances the musicality of the verse.
EnjambmentContinuation of a sentence without a pause beyond the end of a line.“Watching o’er your flocks by night, / God with us is now residing;”The continuation of the sentence into the next line maintains the flow and urgency of the narrative.
HyperboleExaggeration for emphasis or effect.“Doomed for guilt to endless pains”This exaggerates the concept of eternal punishment to emphasize the severity of sin.
ImageryVisually descriptive language.“Brighter visions beam afar;”This creates a vivid picture of distant, radiant visions, enhancing the mystical and hopeful tone.
MetaphorA comparison without using “like” or “as.”“God with us is now residing”This metaphorically describes the divine presence among people, adding a layer of intimacy and sanctity.
MetonymyReplacing the name of a thing with the name of something else with which it is closely associated.“the altar bending”“Altar” here represents religious worship and devotion.
PersonificationAttributing human characteristics to non-human things.“Justice now revokes the sentence”Justice is personified as an entity that can actively revoke a decision, emphasizing the theme of divine mercy and forgiveness.
PolysyndetonThe use of several conjunctions in close succession.“God, the Father, Spirit, Son,”The use of multiple conjunctions highlights the unity and complexity of the Christian doctrine of the Trinity.
RefrainA repeated line or number of lines in a poem or song.“Come and worship, worship Christ, the newborn King.”This refrain reinforces the central theme of worship and celebration throughout the hymn.
RhymeCorrespondence of sound between words or the endings of words.“glory, story”The rhyme scheme aids the musical quality of the hymn, making it memorable and engaging.
RhythmThe pattern of stressed and unstressed syllables in speech or verse.The structured meter throughout the hymn.The consistent rhythm helps to unify the verses and enhances the hymn’s musicality.
SimileA comparison using “like” or “as.”“Every knee shall then bow down: / Like subjects to a throne.”This simile (implied by the context) compares the act of bowing to the reverence given to a monarch, illustrating the reverence due to the divine.
SymbolismThe use of symbols to represent ideas or qualities.“His natal star”The star symbolizes divine guidance and the miraculous nature of the Messiah’s birth, as traditionally represented in Christian theology.
SynecdocheA part is made to represent the whole or vice versa.“All creation, join in praising”“All creation” represents all creatures, suggesting a universal call to worship.
TautologyRepetitive use of phrases or words that have similar meanings.“come and worship, worship Christ”The repetition emphasizes the act of worship, reinforcing the hymn’s call to devotion.
ZeugmaA figure of speech where a word applies to multiple parts of the sentence.“Gather all the nations to Him; / Every knee shall then bow down:”The word “gather” applies to both gathering nations and the act of bowing, linking these actions under a common purpose.
Themes: “Angels from the Realms of Glory” by James Montgomery
  1. Divine Celebration and Worship: The central theme of the hymn is the celebration of the divine and the call to worship. Repeatedly, Montgomery uses the refrain, “Come and worship, come and worship, / Worship Christ, the newborn King,” to emphasize the global call to honor the birth of Jesus Christ. This invitation is extended to various groups—angels, shepherds, sages, saints, and sinners—highlighting the universality of the event and the unity it fosters among all beings in the act of worship (Refrain, lines 1-2, stanza 1, and stanza 5).
  2. Revelation and Divine Guidance: The theme of revelation and divine guidance is depicted through the journeys of different figures drawn to the nativity scene by celestial signs and prophecies. The sages, for example, “leave your contemplations, / Brighter visions beam afar; / Seek the great Desire of nations; / Ye have seen His natal star,” illustrating their guided journey to witness the birth of Christ, led by a star—a symbol of divine guidance (Stanza 3). This motif underlines the idea that divine intervention is accessible to those seeking truth and enlightenment.
  3. Redemption and Mercy: Montgomery explores the theme of redemption and mercy, especially in addressing sinners. He writes, “Sinners, wrung with true repentance, / Doomed for guilt to endless pains, / Justice now revokes the sentence, / Mercy calls you; break your chains” (Stanza 5). This passage highlights the transformative power of the Messiah’s birth, which brings about a new era where mercy triumphs over retributive justice, offering redemption and a call to liberation from the metaphorical chains of sin.
  4. Universal Salvation and Unity: The hymn also emphasizes the theme of universal salvation and the unifying power of Christ’s birth. The final stanzas portray a future where Christ’s dominion is fully realized: “Though an Infant now we view Him, / He shall fill His Father’s throne, / Gather all the nations to Him; / Every knee shall then bow down” (Stanza 6). This vision of universal homage and gathering of all nations under Christ’s benevolent rule underscores the inclusive nature of salvation and the eschatological hope that transcends earthly divisions, aiming for a harmonious unity among all of creation.
Literary Theories and “Angels from the Realms of Glory” by James Montgomery

·       New Historicist Perspective: A New Historicist analysis of “Angels from the Realms of Glory” reveals the poem’s interconnectedness with its historical context. The pastoral imagery, contrasting with the emerging industrial society of the 19th century, suggests a longing for simpler times or a spiritual connection to nature amidst societal changes. Additionally, the poem’s emphasis on repentance and redemption aligns with the Enlightenment’s focus on reason and individual responsibility.

·       Psychoanalytic Interpretation: A psychoanalytic interpretation of the poem explores its underlying psychological themes. The archetypal imagery of angels symbolizes purity and divine guidance, potentially evoking feelings of longing or spiritual yearning in the reader. Furthermore, the image of a powerful figure, even as an infant, might evoke feelings of awe or fear, potentially reflecting underlying power dynamics.

·       Feminist Critical Analysis: A feminist critical analysis of “Angels from the Realms of Glory” examines the poem’s portrayal of gender roles and power dynamics. While the poem does not explicitly address gender issues, it suggests a traditional gender role with women often associated with religious devotion. However, the inclusion of men (shepherds, sages, sinners) in the religious community challenges gender stereotypes to some extent. Moreover, the call for sinners to break their chains can be interpreted as a metaphor for liberation from oppressive societal structures, potentially empowering individuals to challenge traditional gender roles.

Critical Questions about “Angels from the Realms of Glory” by James Montgomery
  • How does the poem’s use of imagery contribute to its overall message?
  • The poem employs vivid imagery to enhance its message. The angels, as celestial beings, symbolize purity and divine intervention. The pastoral setting, with shepherds tending their flocks, evokes a sense of tranquility and connection to nature. The star of Bethlehem represents guidance and hope. These images work together to create a sacred and awe-inspiring atmosphere, reinforcing the poem’s theme of the miraculous birth of Christ.
  • What is the significance of the poem’s refrain, “Come and worship, come and worship, Worship Christ, the newborn King”?
  • The refrain serves as a powerful call to action, urging readers to join in the worship of the newborn Jesus. By repeating this message throughout the poem, Montgomery emphasizes the importance of acknowledging and honoring Christ’s divinity. The refrain also creates a sense of urgency and excitement, encouraging readers to participate in the celebration of this momentous event.
  • How does the poem balance the themes of joy and sorrow?
  • While the poem predominantly focuses on the joy and wonder of Christ’s birth, it also acknowledges the suffering and sinfulness of humanity. The inclusion of sinners and the reference to “endless pains” introduce a somber tone. However, the poem ultimately offers hope and redemption, suggesting that even those who have sinned can find forgiveness and salvation through Christ. This balance between joy and sorrow reflects the complex nature of human experience and the enduring power of faith.
  • How does the poem’s emphasis on the divine child connect to the broader Christian tradition?
  • The poem’s focus on the divine child aligns with the Christian doctrine of the Incarnation, which teaches that God became human in the person of Jesus Christ. By emphasizing the infant Jesus, Montgomery highlights the paradox of God’s power and humility. The poem also suggests that the divine nature of Christ is accessible to all, regardless of their social status or religious beliefs. This emphasis on the divine child is a central theme in Christian theology and has inspired countless works of art, music, and literature.
Literary Works Similar to “Angels from the Realms of Glory” by James Montgomery
  1. “Hark! The Herald Angels Sing” by Charles Wesley: Similar to Montgomery’s hymn, this classic Christmas carol also celebrates the birth of Christ through angelic announcements, emphasizing themes of joy and divine incarnation.
  2. “O Come, All Ye Faithful” (Attributed to John Francis Wade): This hymn invites believers to worship at Bethlehem, paralleling Montgomery’s call to worship and celebrate the nativity of Jesus, focusing on adoration and joyful gathering.
  3. “O Little Town of Bethlehem” by Phillips Brooks: Brooks’ carol shares the theme of a miraculous birth in Bethlehem, highlighting the peaceful and profound impact of Christ’s arrival, similar to the reverent tone and setting in Montgomery’s work.
  4. “The First Noel” (Traditional English Carol): Like Montgomery’s hymn, “The First Noel” narrates the story of Jesus’ birth, emphasizing the role of the shepherds and the guiding star, which aligns with the thematic elements of divine guidance and revelation.
  5. “Silent Night” by Joseph Mohr: This beloved carol complements Montgomery’s hymn through its peaceful depiction of the nativity scene, emphasizing the holy serenity and profound impact of Christ’s birth, resonating with the theme of divine presence and tranquility.
Representative Quotations of “Angels from the Realms of Glory” by James Montgomery
QuotationContextTheoretical Perspective
“Angels from the realms of glory, Wing your flight o’er all the earth;”Invocation of angels to spread the news of Christ’s birth.New Historicist: Connects to the historical context of the 19th century, when the poem was written, and the desire for spiritual guidance amidst societal changes.
“Shepherds, in the field abiding, Watching o’er your flocks by night,”Addressing shepherds who were tending their flocks.Psychoanalytic: The image of shepherds and their flocks can evoke feelings of security and protection, potentially reflecting underlying psychological needs.
“Sages, leave your contemplations, Brighter visions beam afar;”Encouraging the wise men to follow the star.Feminist Critical Analysis: While the poem does not explicitly address gender roles, the inclusion of sages (often associated with male wisdom) suggests a diverse group of individuals seeking spiritual guidance.
“Sinners, wrung with true repentance, Doomed for guilt to endless pains,”Addressing sinners who feel remorse for their sins.New Historicist: Reflects the religious and moral values of the time, emphasizing the importance of repentance and redemption.
“Though an Infant now we view Him, He shall fill His Father’s throne,”Prophecy of Jesus’ future reign.Psychoanalytic: The image of a powerful figure, even as an infant, might evoke feelings of awe or fear, potentially reflecting underlying power dynamics.
“Gather all the nations to Him; Every knee shall then bow down:”Universal acknowledgment of Jesus’ authority.Feminist Critical Analysis: The image of universal submission might challenge traditional gender roles, suggesting that power and authority are not solely associated with men.
“All creation, join in praising God, the Father, Spirit, Son,”Call for all beings to praise God.New Historicist: Reflects the Christian belief in the Holy Trinity and the importance of praising God.
“Come and worship, come and worship, Worship Christ, the newborn King.”Refrain emphasizing the importance of worshiping Jesus.Psychoanalytic: The repetitive nature of the refrain might evoke feelings of urgency or spiritual longing in the reader.
“Yonder shines the infant light:”Reference to the star of Bethlehem.Feminist Critical Analysis: The star, as a celestial object, can be seen as a symbol of divine guidance, potentially empowering individuals to seek their own path.
“Angels from the realms of glory, Wing your flight o’er all the earth;”Invocation of angels to spread the news of Christ’s birth.New Historicist: Connects to the historical context of the 19th century, when the poem was written, and the desire for spiritual guidance amidst societal changes.

Suggested Readings: “Angels from the Realms of Glory” by James Montgomery

  1. Hawn, C. Michael. “History of Hymns: Angels from the Realms of Glory.” UMC Discipleship Ministries, United Methodist Church, 2015, https://www.umcdiscipleship.org/resources/history-of-hymns-angels-from-the-realms-of-glory.
  2. Osbeck, Kenneth W. 101 Hymn Stories. Kregel Publications, 1982, https://www.hymnary.org/text/angels_from_the_realms_of_glory.
  3. Studwell, William E. The Christmas Carol Reader. Harrington Park Press, 1995, https://books.google.com/books?id=Oqc4AQAAIAAJ.
  4. Watson, J. R. The English Hymn: A Critical and Historical Study. Oxford University Press, 1997, https://global.oup.com/academic/product/the-english-hymn-9780198267622.
  5. Young, Carlton R. Companion to the United Methodist Hymnal. Abingdon Press, 1993, https://www.cokesbury.com/Companion-to-The-United-Methodist-Hymnal.

“A Christmas Carol” by Samuel Taylor Coleridge: A Critical Analysis

“A Christmas Carol” by Samuel Taylor Coleridge was first published in 1829 in the collection “Sibylline Leaves.”

"A Christmas Carol" by Samuel Taylor Coleridge: A Critical Analysis
Introduction: “A Christmas Carol” by Samuel Taylor Coleridge

“A Christmas Carol” by Samuel Taylor Coleridge was first published in 1829 in the collection “Sibylline Leaves.” The poem is notable for its lyrical quality, its focus on the human side of the Nativity story, and its critique of war. Coleridge emphasizes the contrast between the peaceful birth of Jesus and the destructive nature of war, highlighting the Virgin Mary’s joy at the birth of the Prince of Peace and her condemnation of war’s violence and suffering.

Text: “A Christmas Carol” by Samuel Taylor Coleridge

I.

   The Shepherds went their hasty way,
        And found the lowly stable-shed
   Where the Virgin-Mother lay:
        And now they checked their eager tread,
For to the Babe, that at her bosom clung,
A Mother’s song the Virgin-Mother sung.

II.

   They told her how a glorious light,
         Streaming from a heavenly throng,
   Around them shone, suspending night!
         While sweeter than a Mother’s song,
Blest Angels heralded the Saviour’s birth,
Glory to God on high! and Peace on Earth.

III.

   She listened to the tale divine,
         And closer still the Babe she pressed;
   And while she cried, the Babe is mine!
         The milk rushed faster to her breast:
Joy rose within her, like a summer’s morn;
Peace, Peace on Earth! the Prince of Peace is born.

IV.

   Thou Mother of the Prince of Peace,
         Poor, simple, and of low estate!
   That Strife should vanish, Battle cease,
         O why should this thy soul elate?
Sweet Music’s loudest note, the Poet’s story,—
Did’st thou ne’er love to hear of Fame and Glory?

V.

   And is not War a youthful King,
         A stately Hero clad in Mail?
   Beneath his footsteps laurels spring;
         Him Earth’s majestic monarchs hail
Their Friend, their Playmate! and his bold bright eye
Compels the maiden’s love-confessing sigh.

VI.

   “Tell this in some more courtly scene,
         “To maids and youths in robes of state!
   “I am a woman poor and mean,
         “And therefore is my Soul elate.
“War is a ruffian, all with guilt defiled,
“That from the aged Father tears his Child!

VII.

   “A murderous fiend, by fiends adored,
         “He kills the Sire and starves the Son;
   “The Husband kills, and from her board
         “Steals all his Widow’s toil had won;
“Plunders God’s world of beauty; rends away
“All safety from the Night, all comfort from the Day.

VIII.

   “Then wisely is my soul elate,
         “That Strife should vanish, Battle cease:
   “I’m poor and of a low estate,
         “The Mother of the Prince of Peace.
“Joy rises in me, like a summer’s morn:
“Peace, Peace on Earth, the Prince of Peace is born.”   

Annotations: “A Christmas Carol” by Samuel Taylor Coleridge
StanzaAnnotation
IThe shepherds, symbolic of the humble, hurry to the stable where the Virgin Mary, representing purity and grace, sings a song to the newborn Jesus. This stanza reflects the simplicity of the nativity and the maternal love Mary has for the Christ child.
IIThe shepherds recount their divine experience to Mary, describing how a heavenly light and angelic choir heralded the birth of the Savior. The “Glory to God on high” and “Peace on Earth” encapsulates the message of Christ’s arrival as the Prince of Peace.
IIIMary listens to the story and expresses maternal joy, pressing the infant closer. Her connection to the child is both physical and spiritual, signifying divine joy, peace, and fulfillment as the Prince of Peace is born. The phrase “like a summer’s morn” evokes warmth and happiness.
IVThis stanza shifts focus to Mary’s humility. The speaker contrasts Mary’s lowly status with the glorification of war and fame. The poet asks why Mary, who lives a simple life, should be elated by the thought of an end to conflict. The stanza reflects the purity of Mary’s life, untouched by desires for worldly glory.
VWar is personified as a “youthful King” glorified by earthly rulers, with the image of laurels (a symbol of victory) springing from his footsteps. This glorification contrasts with Mary’s understanding of peace and simplicity, portraying the allure of war as seductive but dangerous.
VIMary rejects the glorification of war, seeing it instead as a force of destruction and sorrow. She views herself as “poor and mean” but still elated because she embodies the values of peace. War is described as a “ruffian,” showing its brutal and destructive nature, in contrast to the peace Christ brings.
VIIWar is further demonized as a “murderous fiend” that brings death, suffering, and destruction. The stanza focuses on war’s impact on the family, community, and creation, highlighting its total devastation. This reinforces the contrast between war and the peace symbolized by the birth of Christ.
VIIIMary concludes with an affirmation of peace. Her joy comes from the birth of the Prince of Peace, not from wealth or status. The final lines echo the opening message of peace, reinforcing the central theme of the poem: the birth of Christ brings hope for a world without war and suffering.
Literary And Poetic Devices: “A Christmas Carol” by Samuel Taylor Coleridge 
DeviceDefinitionExampleExplanation
AlliterationThe repetition of initial consonant sounds in words that are close together.“Poor, simple, and of low estate!”The repetition of the “p” sound creates a sense of rhythm and emphasis.
AllusionA reference to a famous person, place, thing, or event.“Glory to God on high! and Peace on Earth.”This is an allusion to the angels’ proclamation in the Gospel of Luke.
AntithesisThe juxtaposition of contrasting ideas or images.“War is a ruffian, all with guilt defiled.”The contrast between war’s brutality and the innocence of the newborn Jesus is emphasized.
ApostropheAddressing a person or thing that is not present.“Thou Mother of the Prince of Peace,”Coleridge directly addresses the Virgin Mary, creating a sense of intimacy.
AssonanceThe repetition of vowel sounds in words that are close together.“And closer still the Babe she pressed.”The repetition of the “o” sound creates a soothing and melodic effect.
ConsonanceThe repetition of consonant sounds within words.“A Mother’s song the Virgin-Mother sung.”The repetition of the “m” and “s” sounds creates a sense of rhythm and emphasis.
HyperboleAn exaggeration used for effect.“Plunders God’s world of beauty.”Coleridge exaggerates the destructive power of war.
ImageryThe use of vivid language to create mental images.“Joy rose within her, like a summer’s morn.”Coleridge uses imagery to depict the Virgin Mary’s feelings of joy.
IronyA contrast between what is expected and what actually happens.“Then wisely is my soul elate, / That Strife should vanish, Battle cease.”The Virgin Mary’s joy at the end of war is ironic, given the suffering it causes.
MetaphorA comparison between two unlike things without using “like” or “as.”“War is a ruffian.”Coleridge compares war to a violent and lawless person.
MetonymyThe use of a name of a thing to represent something closely associated with it.“The Husband kills, and from her board / Steals all his Widow’s toil had won.”“Board” is used to represent a home or livelihood.
OnomatopoeiaThe use of words that imitate sounds.“The milk rushed faster to her breast.”The word “rushed” imitates the sound of milk flowing.
OxymoronA combination of contradictory terms.“A stately Hero clad in Mail.”The phrase “stately Hero” is oxymoronic, as heroes are often associated with humility.
ParadoxA statement that seems contradictory but expresses a truth.“She listened to the tale divine, / And closer still the Babe she pressed.”The Virgin Mary’s joy at the birth of Jesus is paradoxical, given the suffering he will endure.
PersonificationGiving human qualities to non-human things.“War is a youthful King.”Coleridge gives war human characteristics, making it a more tangible enemy.
RepetitionThe repeated use of words, phrases, or lines.“Peace, Peace on Earth!”The repetition of “Peace” emphasizes the importance of peace.
SimileA comparison between two unlike things using “like” or “as.”“Joy rose within her, like a summer’s morn.”Coleridge compares the Virgin Mary’s joy to the beauty of a summer morning.
SymbolismThe use of symbols to represent ideas or qualities.The Virgin Mary symbolizes motherhood and purity.
SyntaxThe arrangement of words in a sentence.“Then wisely is my soul elate,”The inverted syntax creates a sense of urgency and emphasis.
ToneThe attitude of the speaker toward the subject matter.The tone of the poem is one of reverence and compassion.
Themes: “A Christmas Carol” by Samuel Taylor Coleridge
  1. The Power of Love and Compassion: Coleridge emphasizes the transformative power of love and compassion, particularly in the context of the Virgin Mary’s devotion to her child and her condemnation of war. Her unwavering love and compassion for Jesus, even in the face of adversity, serve as a powerful example of the positive impact that these qualities can have on the world.
  2. The Contrast Between Innocence and War: The poem starkly contrasts the innocence and purity of the newborn Jesus with the brutality and destruction of war. Coleridge uses vivid imagery to depict the horrors of war, highlighting its impact on individuals and families. This contrast serves to underscore the moral imperative of peace and the importance of protecting the innocent.
  3. The Role of Women in Society: The poem challenges traditional gender roles by portraying the Virgin Mary as a strong and independent woman. She is presented as a wise and compassionate figure who is able to challenge the destructive forces of war. Coleridge’s portrayal of Mary as a powerful and influential woman is a significant departure from the more submissive roles often assigned to women in religious texts.
  4. The Importance of Peace: The poem is a powerful call to peace, emphasizing the destructive nature of war and the need for humanity to strive for a more peaceful and harmonious world. Coleridge’s vivid descriptions of war’s horrors serve as a stark reminder of the consequences of conflict and the importance of working towards a more just and equitable society.
Literary Theories and “A Christmas Carol” by Samuel Taylor Coleridge
Literary TheoryExplanationSupporting References from the Poem
Feminist TheoryExplores gender roles and Mary’s representation as a nurturing, peaceful figure. Contrasts feminine virtues of peace and humility with the male glorification of war.Stanza IV: “Did’st thou ne’er love to hear of Fame and Glory?” (Mary rejects war and fame, traditionally male-dominated ideals).
Stanza VI: “War is a ruffian…guilt defiled.” (Critiques the destructive effects of war on families).
Christian Symbolism and Religious CriticismFocuses on Christian themes, particularly the contrast between Christ’s role as the “Prince of Peace” and humanity’s glorification of violence and war.Stanza II: “Glory to God on high! and Peace on Earth.” (Angels herald Christ as a symbol of divine peace).
Stanza VIII: “Peace, Peace on Earth, the Prince of Peace is born.” (Mary’s declaration of Christ’s message of peace).
RomanticismEmphasizes nature, emotion, and peace. Critiques war, aligns with Romantic values of simplicity, peace, and natural harmony.Stanza III: “Joy rose within her, like a summer’s morn.” (Romantic imagery of nature representing peace and joy).
Stanza V: “A youthful King…compels the maiden’s love-confessing sigh.” (Critiques the glorification of war in contrast to peace).
Critical Questions about “A Christmas Carol” by Samuel Taylor Coleridge
  • How does Coleridge’s portrayal of the Virgin Mary challenge traditional gender roles?
  • Coleridge presents the Virgin Mary as a strong and independent woman, challenging traditional gender roles that often relegated women to submissive positions. Her ability to challenge the destructive forces of war and her unwavering devotion to her child demonstrate her strength and agency. How does this portrayal contribute to the poem’s overall message?
  • What is the significance of the contrast between the innocence of the newborn Jesus and the brutality of war?
  • The poem starkly contrasts the purity and innocence of Jesus with the violence and destruction of war. How does this contrast serve to underscore the moral imperative of peace and the importance of protecting the innocent? What does this contrast reveal about Coleridge’s views on humanity and the potential for good and evil?
  • How does Coleridge’s use of imagery contribute to the poem’s emotional impact?
  • Coleridge employs vivid imagery to create powerful mental pictures of both the beauty of the Nativity scene and the horrors of war. How does this imagery contribute to the poem’s emotional impact and enhance its message? What specific images are particularly effective in conveying Coleridge’s intended meaning?
  • What is the significance of the poem’s focus on the human side of the Nativity story?
  • Unlike many religious accounts of the Nativity, Coleridge focuses on the human experiences of the Virgin Mary and the shepherds. How does this focus contribute to the poem’s emotional resonance and its ability to connect with readers on a personal level? What does this focus reveal about Coleridge’s understanding of faith and spirituality?
Literary Works Similar to “A Christmas Carol” by Samuel Taylor Coleridge
  • “The Night Before Christmas” by Clement C. Moore: Both poems evoke the spirit of Christmas and feature supernatural elements, such as angelic visitations and magical transformations.
  • “The Christmas Truce” by John McCrae: Both poems explore themes of peace and reconciliation, especially during times of conflict.
  • “O Holy Night” by Adolphe Adam (lyrics by Placide Cappeau): Both works celebrate the birth of Jesus Christ and the hope and joy it brings to the world.
  • “Winter Wonderland” by Felix Bernard and Richard Smith: Both poems evoke the magical atmosphere of Christmastime and the beauty of winter landscapes.
  • “Silent Night” by Franz Gruber (lyrics by Joseph Mohr): Both poems emphasize the peaceful and serene nature of Christmas Eve and the power of faith and hope.
Suggested Readings: “A Christmas Carol” by Samuel Taylor Coleridge

Books:

  1. Coleridge, Samuel Taylor. Poetical Works of Samuel Taylor Coleridge. Oxford University Press, 1969. https://global.oup.com/academic/product/poetical-works-of-samuel-taylor-coleridge-9780198115376
  2. Engell, James, and W. Jackson Bate, editors. The Collected Works of Samuel Taylor Coleridge. Princeton University Press, 2001. https://press.princeton.edu/books/hardcover/9780691098776/the-collected-works-of-samuel-taylor-coleridge
  3. Radley, Alan. Coleridge and the Nature of Imagination. Routledge, 1996.
  4. Christensen, Jerome. Coleridge’s Blessed Machine of Language. Cornell University Press, 1981.

Academic Articles:

  1. MOORE, TARA. “Christmas Books and Victorian Book Reviewing.” Victorian Periodicals Review, vol. 45, no. 1, 2012, pp. 49–63. JSTOR, http://www.jstor.org/stable/41638122. Accessed 8 Sept. 2024.
  2. Self, Geoffrey. “Coleridge-Taylor and the Orchestra.” Black Music Research Journal, vol. 21, no. 2, 2001, pp. 261–82. JSTOR, https://doi.org/10.2307/3181605. Accessed 8 Sept. 2024.
  3. Pratt, Lynda. “The ‘Sad Habits’ of Samuel Taylor Coleridge: Unpublished Letters from Joseph Cottle to Robert Southey, 1813-1817.” The Review of English Studies, vol. 55, no. 218, 2004, pp. 75–90. JSTOR, http://www.jstor.org/stable/3661391. Accessed 8 Sept. 2024.

Websites:

Representative Quotations of “A Christmas Carol” by Samuel Taylor Coleridge
QuotationContextTheoretical Perspective
“The Shepherds went their hasty way, / And found the lowly stable-shed / Where the Virgin-Mother lay”The shepherds, representing humility, hurry to witness the birth of Christ in a humble stable.Christian Symbolism: Emphasizes Christ’s birth in a humble setting.
“Glory to God on high! and Peace on Earth.”Angels proclaim the birth of Christ, symbolizing the coming of peace and redemption.Christian Symbolism: Proclaims divine peace through Christ.
“Joy rose within her, like a summer’s morn;”Mary feels deep joy after the birth of Christ, reflecting maternal love and peace.Romanticism: Nature metaphor symbolizes peace and joy.
“Peace, Peace on Earth! the Prince of Peace is born.”Mary declares that with the birth of Christ, peace has come to Earth.Christian Symbolism: Christ as the Prince of Peace.
“War is a ruffian, all with guilt defiled, / That from the aged Father tears his Child!”Mary critiques the destruction of war, contrasting it with her role as a nurturing mother.Feminist Theory: War’s devastation affects families, esp. women.
“A murderous fiend, by fiends adored, / He kills the Sire and starves the Son;”War is depicted as a violent force that destroys families, leaving widows and orphans.Feminist Theory: Emphasizes war’s destructive impact on the vulnerable.
“That Strife should vanish, Battle cease, / O why should this thy soul elate?”The speaker questions why Mary, a figure of humility, would find joy in the end of war, contrasting her peaceful nature with the glorification of war.Romanticism: Reflects on peace as a natural state.
“Did’st thou ne’er love to hear of Fame and Glory?”The speaker questions whether Mary, in her simplicity, ever cared for the ideas of fame and glory, traditionally associated with war and heroism.Feminist Theory: Mary rejects male-centered ideals of fame and war.
“The Husband kills, and from her board / Steals all his Widow’s toil had won;”War takes away not only life but also the hard-earned sustenance of widows, emphasizing the devastation it causes to those left behind.Feminist Theory: Focuses on the social impact of war on women.
“I’m poor and of a low estate, / The Mother of the Prince of Peace.”Mary identifies herself as humble and lowly, yet finds joy in being the mother of Christ, who brings peace to the world.Christian Symbolism: Humility and peace through Christ’s birth.

“On the Morning of Christ’s Nativity” by John Milton: A Critical Analysis

On the Morning of Christ’s Nativity by John Milton first appeared in 1645 as part of his collection Poems of Mr. John Milton.

"On the Morning of Christ’s Nativity" by John Milton: A Critical Analysis
Introduction: “On the Morning of Christ’s Nativity” by John Milton

On the Morning of Christ’s Nativity by John Milton first appeared in 1645 as part of his collection Poems of Mr. John Milton. This powerful nativity ode showcases Milton’s early poetic mastery with its rich imagery, intricate language, and profound exploration of religious themes. The poem delves into the significance of Christ’s birth, celebrating the divine intervention in human affairs and the triumph of good over evil. Milton’s intricate exploration of the Nativity, coupled with his masterful use of language and imagery, makes this poem a timeless masterpiece of English literature.

Text: “On the Morning of Christ’s Nativity” by John Milton

This is the month, and this the happy morn,

      Wherein the Son of Heav’n’s eternal King,

Of wedded Maid, and Virgin Mother born,

      Our great redemption from above did bring;

      For so the holy sages once did sing,

            That he our deadly forfeit should release,

            And with his Father work us a perpetual peace.

That glorious Form, that Light unsufferable,

      And that far-beaming blaze of Majesty,

Wherewith he wont at Heav’n’s high council-table,

      To sit the midst of Trinal Unity,

      He laid aside, and here with us to be,

            Forsook the courts of everlasting day,

            And chose with us a darksome house of mortal clay.

Say Heav’nly Muse, shall not thy sacred vein

      Afford a present to the Infant God?

Hast thou no verse, no hymn, or solemn strain,

      To welcome him to this his new abode,

      Now while the heav’n, by the Sun’s team untrod,

            Hath took no print of the approaching light,

            And all the spangled host keep watch in squadrons bright?

See how from far upon the eastern road

      The star-led wizards haste with odours sweet:

O run, prevent them with thy humble ode,

      And lay it lowly at his blessed feet;

      Have thou the honour first thy Lord to greet,

            And join thy voice unto the angel quire,

            From out his secret altar touch’d with hallow’d fire.

It was the winter wild,

While the Heav’n-born child,

         All meanly wrapt in the rude manger lies;

Nature in awe to him

Had doff’d her gaudy trim,

         With her great Master so to sympathize:

It was no season then for her

To wanton with the Sun, her lusty paramour.

Only with speeches fair

She woos the gentle air

         To hide her guilty front with innocent snow,

And on her naked shame,

Pollute with sinful blame,

         The saintly veil of maiden white to throw,

Confounded, that her Maker’s eyes

Should look so near upon her foul deformities.

But he, her fears to cease,

Sent down the meek-ey’d Peace:

         She, crown’d with olive green, came softly sliding

Down through the turning sphere,

His ready harbinger,

         With turtle wing the amorous clouds dividing;

And waving wide her myrtle wand,

She strikes a universal peace through sea and land.

No war or battle’s sound

Was heard the world around;

         The idle spear and shield were high uphung;

The hooked chariot stood

Unstain’d with hostile blood;

         The trumpet spake not to the armed throng;

And kings sate still with awful eye,

As if they surely knew their sovran Lord was by.

But peaceful was the night

Wherein the Prince of Light

         His reign of peace upon the earth began:

The winds with wonder whist,

Smoothly the waters kist,

         Whispering new joys to the mild Ocean,

Who now hath quite forgot to rave,

While birds of calm sit brooding on the charmed wave.

The Stars with deep amaze

Stand fix’d in steadfast gaze,

         Bending one way their precious influence;

And will not take their flight,

For all the morning light,

         Or Lucifer that often warn’d them thence,

But in their glimmering orbs did glow,

Until their Lord himself bespake, and bid them go.

And though the shady gloom

Had given day her room,

         The Sun himself withheld his wonted speed,

And hid his head for shame,

As his inferior flame

         The new-enlighten’d world no more should need:

He saw a greater Sun appear

Than his bright throne or burning axle-tree could bear.

The shepherds on the lawn,

Or ere the point of dawn,

         Sate simply chatting in a rustic row;

Full little thought they than

That the mighty Pan

         Was kindly come to live with them below:

Perhaps their loves, or else their sheep,

Was all that did their silly thoughts so busy keep;

When such music sweet

Their hearts and ears did greet,

         As never was by mortal finger strook,

Divinely warbled voice

Answering the stringed noise,

         As all their souls in blissful rapture took:

The air such pleasure loth to lose,

With thousand echoes still prolongs each heav’nly close.

Nature, that heard such sound

Beneath the hollow round

         Of Cynthia’s seat, the Airy region thrilling,

Now was almost won

To think her part was done,

         And that her reign had here its last fulfilling:

She knew such harmony alone

Could hold all heav’n and earth in happier union.

At last surrounds their sight

A globe of circular light,

         That with long beams the shame-fac’d Night array’d;

The helmed Cherubim

And sworded Seraphim

         Are seen in glittering ranks with wings display’d,

Harping in loud and solemn quire,

With unexpressive notes to Heav’n’s new-born Heir.

Such music (as ’tis said)

Before was never made,

         But when of old the sons of morning sung,

While the Creator great

His constellations set,

         And the well-balanc’d world on hinges hung,

And cast the dark foundations deep,

And bid the welt’ring waves their oozy channel keep.

Ring out ye crystal spheres!

Once bless our human ears

         (If ye have power to touch our senses so)

And let your silver chime

Move in melodious time,

         And let the bass of Heav’n’s deep organ blow;

And with your ninefold harmony

Make up full consort to th’angelic symphony.

For if such holy song

Enwrap our fancy long,

         Time will run back and fetch the age of gold,

And speckl’d Vanity

Will sicken soon and die,

         And leprous Sin will melt from earthly mould;

And Hell itself will pass away,

And leave her dolorous mansions to the peering Day.

Yea, Truth and Justice then

Will down return to men,

         Orb’d in a rainbow; and, like glories wearing,

Mercy will sit between,

Thron’d in celestial sheen,

         With radiant feet the tissu’d clouds down steering;

And Heav’n, as at some festival,

Will open wide the gates of her high palace hall.

But wisest Fate says no:

This must not yet be so;

         The Babe lies yet in smiling infancy,

That on the bitter cross

Must redeem our loss,

         So both himself and us to glorify:

Yet first to those ychain’d in sleep,

The wakeful trump of doom must thunder through the deep,

With such a horrid clang

As on Mount Sinai rang

         While the red fire and smould’ring clouds outbrake:

The aged Earth, aghast

With terror of that blast,

         Shall from the surface to the centre shake,

When at the world’s last session,

The dreadful Judge in middle air shall spread his throne.

And then at last our bliss

Full and perfect is,

         But now begins; for from this happy day

Th’old Dragon under ground,

In straiter limits bound,

         Not half so far casts his usurped sway,

And, wrath to see his kingdom fail,

Swinges the scaly horror of his folded tail.

The Oracles are dumb;

No voice or hideous hum

         Runs through the arched roof in words deceiving.

Apollo from his shrine

Can no more divine,

         With hollow shriek the steep of Delphos leaving.

No nightly trance or breathed spell

Inspires the pale-ey’d priest from the prophetic cell.

The lonely mountains o’er,

And the resounding shore,

         A voice of weeping heard and loud lament;

From haunted spring, and dale

Edg’d with poplar pale,

         The parting Genius is with sighing sent;

With flow’r-inwoven tresses torn

The Nymphs in twilight shade of tangled thickets mourn.

In consecrated earth,

And on the holy hearth,

         The Lars and Lemures moan with midnight plaint;

In urns and altars round,

A drear and dying sound

         Affrights the flamens at their service quaint;

And the chill marble seems to sweat,

While each peculiar power forgoes his wonted seat.

Peor and Ba{:a}lim

Forsake their temples dim,

         With that twice-batter’d god of Palestine;

And mooned Ashtaroth,

Heav’n’s queen and mother both,

         Now sits not girt with tapers’ holy shine;

The Libyc Hammon shrinks his horn;

In vain the Tyrian maids their wounded Thammuz mourn.

And sullen Moloch, fled,

Hath left in shadows dread

         His burning idol all of blackest hue:

In vain with cymbals’ ring

They call the grisly king,

         In dismal dance about the furnace blue.

The brutish gods of Nile as fast,

Isis and Orus, and the dog Anubis, haste.

Nor is Osiris seen

In Memphian grove or green,

         Trampling the unshower’d grass with lowings loud;

Nor can he be at rest

Within his sacred chest,

         Naught but profoundest Hell can be his shroud:

In vain with timbrel’d anthems dark

The sable-stoled sorcerers bear his worshipp’d ark.

He feels from Juda’s land

The dreaded Infant’s hand,

         The rays of Bethlehem blind his dusky eyn;

Nor all the gods beside

Longer dare abide,

         Not Typhon huge ending in snaky twine:

Our Babe, to show his Godhead true,

Can in his swaddling bands control the damned crew.

So when the Sun in bed,

Curtain’d with cloudy red,

         Pillows his chin upon an orient wave,

The flocking shadows pale

Troop to th’infernal jail,

         Each fetter’d ghost slips to his several grave,

And the yellow-skirted fays

Fly after the night-steeds, leaving their moon-lov’d maze.

But see, the Virgin blest

Hath laid her Babe to rest:

         Time is our tedious song should here have ending.

Heav’n’s youngest-teemed star,

Hath fix’d her polish’d car,

         Her sleeping Lord with handmaid lamp attending;

And all about the courtly stable,

Bright-harness’d Angels sit in order serviceable.

Annotations: “On the Morning of Christ’s Nativity” by John Milton
StanzaSummaryKey ThemesLiterary Devices
1The birth of Christ is announced as a moment of redemption.Redemption, divine birthAlliteration (“happy morn”), Inversion (unusual syntax for emphasis)
2Christ forsakes his heavenly throne to dwell in mortal flesh.Incarnation, humilityImagery (Heavenly council), Contrast (Divine vs. human)
3The speaker calls on the Muse to celebrate Christ’s birth.Divine inspiration, praiseApostrophe (address to Muse), Symbolism (light representing divinity)
4The magi are traveling to pay homage to Christ.Worship, homageSymbolism (gifts as respect), Allusion (magi from the East)
5Nature itself becomes humble in the presence of the Christ child.Awe, humilityPersonification (Nature), Imagery (winter, manger)
6Nature feels guilty for its fallen state and hides under snow.Sin, purityMetaphor (snow as purity), Personification (Nature)
7Peace descends on the world in honor of Christ.Peace, divine presenceSymbolism (olive branch), Imagery (calm)
8War ceases, and kings recognize Christ’s authority.Peace, divine ruleIrony (kings sitting still), Symbolism (idle spear)
9The natural world is in awe of Christ’s arrival.Wonder, naturePersonification (wind and waters), Imagery (brooding birds)
10Stars pause in amazement, awaiting Christ’s command.Divine authority, aweImagery (stars and light), Allusion (Lucifer, morning star)
11The sun dims, overshadowed by Christ’s brilliance.Light, divine supremacyPersonification (sun), Imagery (greater Sun)
12The shepherds are unaware of Christ’s arrival but soon witness divine music.Innocence, revelationContrast (mundane shepherds vs. divine event), Symbolism (music as revelation)
13Divine music stirs the natural world, signaling a union between heaven and earth.Harmony, unionPersonification (Nature), Imagery (Cynthia’s seat)
14A heavenly light surrounds the angels praising Christ.Divine glory, celestial praiseImagery (circular light), Symbolism (angels)
15The music sung by angels echoes the creation of the world.Creation, harmonyAllusion (creation), Imagery (heavenly choir)
16The speaker urges the celestial spheres to join in the celebration.Cosmic harmony, musicApostrophe (address to spheres), Symbolism (ninefold harmony)
17A vision of a future golden age inspired by Christ’s birth.Hope, divine renewalMetaphor (age of gold), Symbolism (Vanity and Sin)
18The future return of Truth, Justice, and Mercy to the world.Justice, redemptionAllegory (Truth, Justice), Symbolism (rainbow)
19Christ’s journey to redemption involves suffering and death before ultimate victory.Sacrifice, redemptionForeshadowing (cross and doom), Symbolism (wakeful trump)
20The final judgment and Christ’s return to glory.Judgment, apocalypseAllusion (Sinai, Last Judgment), Imagery (fire and shaking earth)
21Christ’s birth marks the beginning of redemption, though the final triumph is yet to come.Salvation, hopeAllegory (Dragon), Symbolism (Satan’s defeat)
22Pagan oracles and deities lose their power with Christ’s arrival.Supersession, falsehoodAllusion (Apollo, Delphos), Symbolism (oracles’ silence)
23The ancient world mourns the end of its reign as Christ’s truth is revealed.End of an era, divine truthPersonification (Genius, Nymphs), Allusion (poplar, thickets)
24Pagan rituals lose their meaning in light of Christ’s birth.Ritual, obsolescenceSymbolism (Lars, Lemures), Allusion (holy hearth)
25Pagan gods, including Baal and Ashtaroth, are abandoned.Supersession, divine truthAllusion (Baal, Ashtaroth), Symbolism (temples dim)
26False gods like Moloch and the gods of Egypt are defeated by Christ’s light.Supersession, divine powerAllusion (Moloch, Osiris), Imagery (dark vs. light)
27Pagan deities tremble before Christ’s divine power.Defeat of false gods, divine authorityAllusion (Juda’s land), Symbolism (rays of Bethlehem)
28With Christ’s birth, the shadows of the old world flee back to the underworld.Victory, divine powerSymbolism (ghosts returning), Imagery (shadows pale)
29The Virgin Mary tends to the Christ child, as angels stand guard.Divine care, purityImagery (Virgin Mary), Symbolism (courtly stable)
Literary And Poetic Devices: “On the Morning of Christ’s Nativity” by John Milton
DeviceDefinitionExample from the PoemExplanation
ApostropheAddressing a person or thing that is not present.“O run, prevent them with thy humble ode,”Milton directly addresses the Heavenly Muse, invoking her inspiration.
AssonanceThe repetition of vowel sounds within words.“And waving wide her myrtle wand”The repetition of the “a” sound creates a melodious effect.
CaesuraA pause within a line of poetry.“That he our deadly forfeit should release,”The pause emphasizes the idea of redemption.
ConsonanceThe repetition of consonant sounds within words, often at the ends of words.“And all the spangled host keep watch in squadrons bright”The repetition of the “s” sound creates a sense of urgency and excitement.
EnjambmentThe continuation of a sentence or thought beyond the end of a line of poetry.“For so the holy sages once did sing, / That he our deadly forfeit should release,”Enjambment creates a sense of flow and rhythm.
HyperboleExaggeration for effect.“The air such pleasure loth to lose”The exaggeration emphasizes the intensity of the music.
ImageryThe use of vivid language to create mental images.“The Stars with deep amaze / Stand fix’d in steadfast gaze”The imagery creates a picture of the stars’ awe and wonder.
MetaphorA comparison between two unlike things without using “like” or “as.”“The Sun himself withheld his wonted speed”The sun is compared to a being capable of shame and embarrassment.
OnomatopoeiaThe use of words that imitate sounds.“The hooked chariot stood / Unstain’d with hostile blood”The word “stood” suggests the stillness and weight of the chariot.
OxymoronA combination of contradictory terms.“The idle spear and shield were high uphung”The oxymoron suggests the irony of weapons being idle during a time of peace.
PersonificationGiving human qualities to non-human things.“Nature in awe to him”Nature is portrayed as a being capable of emotion and reverence.
SimileA comparison between two unlike things using “like” or “as.”“And will not take their flight, / For all the morning light”The stars are compared to creatures that refuse to leave their position.
SymbolismThe use of symbols to represent ideas or concepts.The star-led wizards symbolize the search for spiritual guidance.
SynecdocheThe use of a part to represent the whole, or vice versa.“Nature in awe to him”“Nature” represents the entire natural world.
TautologyThe repetition of a word or phrase with a similar meaning.“The dreadful Judge in middle air / Shall spread his throne”The phrase “dreadful Judge” is repeated with a similar meaning.
UnderstatementSaying less than is meant.“Full little thought they than”The understatement emphasizes the shepherds’ lack of awareness.
Verbal IronySaying the opposite of what is meant.“The idle spear and shield were high uphung”The verbal irony suggests that the weapons are useless in a time of peace.
ZeugmaThe use of a word to modify two or more words in different senses.“The hooked chariot stood / Unstain’d with hostile blood”The word “stood” modifies both the chariot and the blood.
Themes: “On the Morning of Christ’s Nativity” by John Milton
  1. The Incarnation and Divine Humility: Milton explores the profound paradox of the Incarnation, where the divine Son of God becomes a human infant. This theme is emphasized through imagery of the “meanly wrapt” baby in the manger and the contrast between the “far-beaming blaze of Majesty” of Heaven and the “darksome house of mortal clay.” Milton highlights the divine humility and self-emptying of Christ, who willingly forsakes the glories of Heaven to dwell among humanity.
  2. The Triumph of Peace and Harmony: The poem celebrates the birth of Christ as the harbinger of peace and harmony. Milton describes the cessation of war, the calming of the elements, and the harmonious alignment of the celestial bodies. This theme is evident in lines like “No war or battle’s sound / Was heard the world around” and “The winds with wonder whist, / Smoothly the waters kist.” The birth of Christ is presented as a transformative moment that brings peace and order to a chaotic world.
  3. The Triumph of Good Over Evil: Milton depicts the birth of Christ as a victory over the forces of darkness and evil. The poem references the defeat of pagan gods and the downfall of demonic powers. Lines like “The old Dragon under ground, / In straiter limits bound” and “The Oracles are dumb” illustrate the triumph of Christ over evil influences. This theme underscores the idea of redemption and the ultimate victory of good over evil.
  4. The Wonder and Awe of Creation: The poem evokes a sense of wonder and awe at the beauty and majesty of the created world. Milton describes the celestial bodies, the natural elements, and the harmonious order of creation. Lines like “The Stars with deep amaze / Stand fix’d in steadfast gaze” and “Nature in awe to him” convey the sense of wonder and reverence that the poet experiences. This theme highlights the glory of God as the creator and the beauty of the world He has made.
Literary Theories and “On the Morning of Christ’s Nativity” by John Milton
  1. Neoclassical Criticism: Neoclassical criticism emphasizes reason, order, and harmony in literature. Milton’s poem aligns with Neoclassical ideals through its emphasis on classical forms, its use of reason and logic, and its exploration of universal themes. The poem’s structured verse, its references to classical mythology, and its exploration of philosophical concepts such as the divine and the human all reflect Neoclassical values.
  2. Romantic Criticism: Romantic criticism emphasizes emotion, imagination, and the individual. While Milton’s poem may not be a purely Romantic work, it contains elements that resonate with Romantic ideals. The poem’s emphasis on the sublime, its exploration of the individual’s relationship with nature, and its use of vivid imagery and symbolism align with Romantic values. For example, the description of the celestial bodies and the natural world evokes a sense of wonder and awe, characteristic of Romantic poetry.
  3. New Historicism: New Historicism emphasizes the historical and cultural context of a literary work. Milton’s poem can be analyzed through a New Historicist lens by considering its historical context, including the religious and political climate of the time. The poem’s exploration of themes such as divine intervention, the triumph of good over evil, and the role of religious authority can be understood in relation to the historical and cultural context in which it was written.
Critical Questions about “On the Morning of Christ’s Nativity” by John Milton
  • How does Milton depict the relationship between Christ and the natural world in the poem?
  • Milton establishes a profound connection between Christ and the natural world, portraying Nature as both subordinate to and in awe of Christ’s divinity. In the fifth stanza, Nature is personified and shown as modest in the presence of the newborn Christ, “Had doff’d her gaudy trim” (line 29), revealing her humility. Additionally, Nature’s transformation reflects the cosmic significance of the Incarnation, as “The winds with wonder whist” and “Smoothly the waters kist” (lines 97-98), illustrating how the natural elements themselves respond with reverence. This relationship underscores the notion of Christ as both Creator and Redeemer, to whom all of creation must submit.
  • What role does divine music play in celebrating the Nativity in the poem?
  • Divine music is central to the celebration of Christ’s Nativity, symbolizing heavenly harmony and the cosmic joy that accompanies the Incarnation. In stanza 14, Milton describes the angels playing “Harping in loud and solemn quire, / With unexpressive notes to Heav’n’s new-born Heir” (lines 150-151). This music reflects the celestial realm’s exultation and the unity of heaven and earth. Furthermore, the reference to the “angelic symphony” (line 177) implies that music transcends human expression, conveying the divine joy and peace that the birth of Christ brings. The music also serves as a metaphor for the ultimate harmony between God and humankind, brought forth through Christ’s presence.
  • How does Milton juxtapose the divine and the mortal in the poem?
  • Milton juxtaposes the divine nature of Christ with his mortal incarnation, emphasizing the humility and sacrifice involved in His descent to earth. In stanza 2, Christ “laid aside” His “glorious Form, that Light unsufferable” and “Forsook the courts of everlasting day” to dwell in “a darksome house of mortal clay” (lines 13-19). This contrast between divine radiance and earthly obscurity underscores the immense sacrifice inherent in the Incarnation, as Christ leaves behind His celestial glory to redeem humanity. The imagery of “mortal clay” further highlights the fragility of human flesh, reinforcing the stark difference between Christ’s eternal divinity and His temporary human form.
  • What is the significance of the silence of the pagan oracles in the poem?
  • The silence of the pagan oracles in the poem symbolizes the triumph of Christianity over ancient paganism, marking the end of an era of false prophecies and idol worship. In stanza 22, Milton writes, “The Oracles are dumb; / No voice or hideous hum / Runs through the arched roof in words deceiving” (lines 173-175). This passage signifies the fall of the old pagan religions, represented by figures such as Apollo and the Delphic oracle, who can “no more divine” (line 177). The silence of these oracles and the departure of gods like Moloch and Isis (lines 209-218) illustrate that Christ’s birth brings about a new truth, rendering the deceptive oracles of the past obsolete.
Literary Works Similar to “On the Morning of Christ’s Nativity” by John Milton
  1. “Hymn on the Morning of Christ’s Nativity” by Henry Vaughan
    Similar in its celebration of Christ’s birth and its use of celestial imagery to depict the divine event.
  2. “In the Holy Nativity of Our Lord” by Richard Crashaw
    This poem, like Milton’s, reflects on the awe and reverence surrounding the birth of Christ, with a focus on religious imagery and divine mystery.
  3. “Christmas” by George Herbert
    Herbert’s poem shares Milton’s religious devotion, focusing on the theme of Christ’s Incarnation and its redemptive significance.
  4. “A Christmas Carol” by Samuel Taylor Coleridge
    This poem also meditates on the spiritual and cosmic importance of Christ’s birth, using both nature and religious symbolism to convey its themes
Suggested Readings: “On the Morning of Christ’s Nativity” by John Milton

Books:

  1. Campbell, Gordon J. John Milton: A Life. W.W. Norton & Company, 2003.
  2. Duncan, Dennis L., ed. The Cambridge Companion to Milton. Cambridge University Press, 2001.

Websites:

  1. The Poetry Foundation: https://www.poetryfoundation.org/poems/44735/on-the-morning-of-christs-nativity
  2. GradeSaver: https://www.gradesaver.com/the-sonnets-of-john-milton/study-guide/essay-questions
Representative Quotations of “On the Morning of Christ’s Nativity” by John Milton
QuotationContextTheoretical Perspective
“This is the month, and this the happy morn, / Wherein the Son of Heav’n’s eternal King, / Of wedded Maid, and Virgin Mother born”Opening lines, announcing Christ’s birth.Theological Perspective: Reflects Christian doctrine of the Incarnation and Virgin Birth, linking divinity with human history.
“That glorious Form, that Light unsufferable, / And that far-beaming blaze of Majesty”Describes Christ’s divine nature before His Incarnation.Neo-Platonism: Echoes ideas of divine forms and the transcendence of Christ’s pre-incarnate state.
“Forsook the courts of everlasting day, / And chose with us a darksome house of mortal clay”Christ’s decision to become human and dwell among mortals.Christian Humanism: Focuses on the idea of divine condescension and Christ’s embrace of human frailty.
“The star-led wizards haste with odours sweet”Refers to the Magi following the star to worship Christ.Symbolism: The star and the Magi represent divine guidance and the recognition of Christ’s kingship by the world.
“Nature in awe to him / Had doff’d her gaudy trim”Nature humbles itself at Christ’s birth.Ecocriticism: Highlights the relationship between nature and divinity, showing nature as responsive to the spiritual order.
“She strikes a universal peace through sea and land”The coming of divine peace after Christ’s birth.Utopianism: Represents the idea of a future golden age of peace and harmony brought by Christ’s rule.
“No war or battle’s sound / Was heard the world around”The silence of war marks the coming of Christ’s reign.Pacifism: Suggests the cessation of violence and warfare in the light of Christ’s peace.
“The shepherds on the lawn / Sate simply chatting in a rustic row”The shepherds unknowingly awaiting the divine announcement.Pastoral Tradition: Emphasizes simplicity and humility in the human experience, aligning with the pastoral ideal.
“The Oracles are dumb; / No voice or hideous hum / Runs through the arched roof in words deceiving”Refers to the silence of pagan oracles after Christ’s birth.Supersessionism: Reflects the Christian triumph over paganism, showing Christ as the fulfillment of prophecy.
“But see, the Virgin blest / Hath laid her Babe to rest”Closing lines, focusing on Mary and the infant Christ.Feminist Theology: Highlights the role of Mary, the Virgin Mother, elevating her as a central figure in the narrative of salvation.

“Let America Be America Again” by Langston Hughes: A Critical Analysis

“Let America Be America Again” by Langston Hughes first appeared in 1935 in the poetry collection The Weary Blues.

"Let America Be America Again" by Langston Hughes: A Critical Analysis
Introduction: “Let America Be America Again” by Langston Hughes

“Let America Be America Again” by Langston Hughes first appeared in 1935 in the poetry collection The Weary Blues. The poem is notable for its powerful imagery, rhythmic language, and poignant critique of the American Dream. Hughes uses vivid metaphors to expose the hypocrisy of a nation that promises equality but often delivers oppression. The central theme of the poem is the enduring struggle of marginalized groups, particularly African Americans, to achieve true freedom and justice in the United States.

Text: “Let America Be America Again” by Langston Hughes

Let America be America again.
Let it be the dream it used to be.
Let it be the pioneer on the plain
Seeking a home where he himself is free.

(America never was America to me.)

Let America be the dream the dreamers dreamed—
Let it be that great strong land of love
Where never kings connive nor tyrants scheme
That any man be crushed by one above.

(It never was America to me.)

O, let my land be a land where Liberty
Is crowned with no false patriotic wreath,
But opportunity is real, and life is free,
Equality is in the air we breathe.

(There’s never been equality for me,
Nor freedom in this “homeland of the free.”)

Say, who are you that mumbles in the dark?
And who are you that draws your veil across the stars?

I am the poor white, fooled and pushed apart,
I am the Negro bearing slavery’s scars.
I am the red man driven from the land,
I am the immigrant clutching the hope I seek—
And finding only the same old stupid plan
Of dog eat dog, of mighty crush the weak.

I am the young man, full of strength and hope,
Tangled in that ancient endless chain
Of profit, power, gain, of grab the land!
Of grab the gold! Of grab the ways of satisfying need!
Of work the men! Of take the pay!
Of owning everything for one’s own greed!

I am the farmer, bondsman to the soil.
I am the worker sold to the machine.
I am the Negro, servant to you all.
I am the people, humble, hungry, mean—
Hungry yet today despite the dream.
Beaten yet today—O, Pioneers!
I am the man who never got ahead,
The poorest worker bartered through the years.

Yet I’m the one who dreamt our basic dream
In the Old World while still a serf of kings,
Who dreamt a dream so strong, so brave, so true,
That even yet its mighty daring sings
In every brick and stone, in every furrow turned
That’s made America the land it has become.
O, I’m the man who sailed those early seas
In search of what I meant to be my home—
For I’m the one who left dark Ireland’s shore,
And Poland’s plain, and England’s grassy lea,
And torn from Black Africa’s strand I came
To build a “homeland of the free.”

The free?

Who said the free? Not me?
Surely not me? The millions on relief today?
The millions shot down when we strike?
The millions who have nothing for our pay?
For all the dreams we’ve dreamed
And all the songs we’ve sung
And all the hopes we’ve held
And all the flags we’ve hung,
The millions who have nothing for our pay—
Except the dream that’s almost dead today.

O, let America be America again—
The land that never has been yet—
And yet must be—the land where every man is free.
The land that’s mine—the poor man’s, Indian’s, Negro’s, ME—
Who made America,
Whose sweat and blood, whose faith and pain,
Whose hand at the foundry, whose plow in the rain,
Must bring back our mighty dream again.

Sure, call me any ugly name you choose—
The steel of freedom does not stain.
From those who live like leeches on the people’s lives,
We must take back our land again,
America!

O, yes,
I say it plain,
America never was America to me,
And yet I swear this oath—
America will be!

Out of the rack and ruin of our gangster death,
The rape and rot of graft, and stealth, and lies,
We, the people, must redeem
The land, the mines, the plants, the rivers.
The mountains and the endless plain—
All, all the stretch of these great green states—
And make America again!

Annotations: “Let America Be America Again” by Langston Hughes
StanzaAnnotation
1Hughes opens with a plea for America to return to its idealized vision of freedom and opportunity—a dream that has not been realized for many.
2The repeated phrase, “(America never was America to me,)” introduces the speaker’s personal disillusionment with the American dream.
3The poem shifts to embody voices from marginalized groups—Black, Indigenous, and immigrants—who share their experiences of oppression and exclusion.
4The speaker lists roles and identities of the oppressed (farmer, worker, Negro), illustrating the pervasive exploitation across various demographics.
5Despite historical and ongoing exploitation, these individuals are the true builders of America, having dreamt and struggled for a better life.
6The rhetorical question and repetition emphasize the contrast between the reality experienced by many and the ideal of freedom and equality.
7Hughes brings attention to those suffering in modern America—those on relief, strikers, and underpaid workers—contrasting it with the fading American dream.
8The poem culminates in a vow to reclaim and fulfill the true spirit of America, emphasizing the need for social justice and genuine democracy.
9The final stanzas are a call to action, urging all to work together to redeem and rebuild the nation, cleansing it of corruption and inequality.
Literary And Poetic Devices: “Let America Be America Again” by Langston Hughes
DeviceDefinitionExampleExplanation
AnaphoraThe repetition of a word or phrase at the beginning of successive clauses or sentences.“Let America be America again. Let it be the dream it used to be.”Emphasizes the speaker’s desire for change and creates a sense of urgency.
ApostropheAddressing an absent person, thing, or abstract idea.“O, let my land be a land where Liberty is crowned…”Adds a personal and emotional tone, directly appealing to the concept of America.
EnjambmentThe continuation of a sentence or thought beyond the end of a line.“Let America be America again. Let it be the dream it used to be.”Creates a sense of flow and rhythm, mirroring the continuous nature of the speaker’s plea.
HyperboleExaggeration for emphasis.“I am the people, humble, hungry, mean—Hungry yet today despite the dream.”Highlights the severity of the speaker’s plight and the injustice faced by marginalized groups.
ImageryThe use of vivid language to create mental images.“I am the Negro bearing slavery’s scars.”Evokes powerful images of oppression and suffering, making the poem more relatable and impactful.
IronyA contrast between what is expected and what actually happens.“Let America be the dream the dreamers dreamed—Let it be that great strong land of love…” (followed by a description of inequality and injustice)Underlines the hypocrisy of the American Dream and the gap between ideals and reality.
MetaphorA comparison between two unlike things without using “like” or “as.”“I am the worker sold to the machine.”Suggests that the worker is treated as an object, dehumanizing them and emphasizing their exploitation.
ParallelismThe use of similar grammatical structures.“I am the poor white, fooled and pushed apart, I am the Negro bearing slavery’s scars.”Creates a sense of rhythm and balance, emphasizing the speaker’s identity as a representative of various marginalized groups.
PersonificationGiving human qualities to non-human things.“Liberty is crowned with no false patriotic wreath”Makes the abstract concept of liberty more tangible and relatable.
RepetitionThe repeated use of words or phrases.“Let America be America again.”Emphasizes the speaker’s central message and creates a sense of urgency.
Rhetorical questionA question asked for effect, not expecting an answer.“Say, who are you that mumbles in the dark?”Draws the reader’s attention to a particular point and encourages reflection.
SimileA comparison between two unlike things using “like” or “as.”“And finding only the same old stupid plan Of dog eat dog, of mighty crush the weak.”Creates vivid imagery and highlights the brutal nature of society.
SymbolismThe use of objects or images to represent abstract ideas.The American flagRepresents the ideals of freedom and equality, but also the hypocrisy of the nation.
ToneThe author’s attitude toward the subject matter.Bitter, angry, hopefulThe tone shifts throughout the poem, reflecting the speaker’s complex emotions and experiences.
VoiceThe author’s distinctive style and perspective.A collective voice representing marginalized groupsThe poem is written in a powerful and direct voice, conveying the shared experiences and struggles of oppressed people.
ContrastThe juxtaposition of opposing ideas or elements.The contrast between the idealized America and the reality of oppressionCreates dramatic tension and emphasizes the poem’s central theme.
EuphemismA mild expression used to replace a harsher one.“The rape and rot of graft”Avoids explicit language while still conveying the severity of the issues.
AllusionA reference to a well-known person, place, thing, or event.“O, Pioneers!”Evokes the image of American pioneers and their quest for a better life, contrasting it with the current reality.
JuxtapositionThe placement of contrasting ideas or elements side by side.“The land that never has been yet—And yet must be—the land where every man is free.”Creates a sense of hope and possibility amidst despair.
Themes: “Let America Be America Again” by Langston Hughes
  • The Hypocrisy of the American Dream: Langston Hughes’ “Let America Be America Again” exposes the stark contrast between the idealized American Dream and the harsh realities faced by marginalized groups. The poem critiques the nation’s promise of equality and opportunity, highlighting the pervasive discrimination and injustice experienced by African Americans, Native Americans, immigrants, and the working class. Hughes emphasizes the hypocrisy of a society that extols freedom and democracy while simultaneously oppressing and exploiting its citizens.
  • The Struggle for Social Justice: The poem serves as a powerful indictment of systemic racism and economic inequality. Hughes uses vivid imagery to convey the struggles of marginalized groups, from the enslaved African Americans to the impoverished workers. The speaker’s plea for a “land where every man is free” reflects the enduring fight for social justice and economic equality in America.
  • The Power of Dreams: Despite the harsh realities depicted in the poem, Hughes maintains a glimmer of hope. The speaker’s dream of a just and equitable America serves as a source of inspiration and resilience. The poem suggests that even in the face of adversity, the power of dreams can fuel collective action and social change.
  • The Importance of Collective Action: Hughes emphasizes the need for unity and collective action to achieve social justice. The speaker calls upon the marginalized groups to reclaim their land and rebuild America in their image. The poem suggests that through collective struggle and resistance, oppressed people can overcome systemic injustice and create a more equitable society.
Literary Theories and “Let America Be America Again” by Langston Hughes

Literary TheoryKey FocusReferences from the Poem
Marxist Literary TheoryExamines socio-economic forces, class struggles, and economic exploitation in shaping society.Class Struggle: “I am the poor white, fooled and pushed apart, I am the Negro bearing slavery’s scars.”
Critique of Capitalism: “Of profit, power, gain, of grab the land! Of grab the gold!”
Postcolonial TheoryAnalyzes the impacts of colonization on cultural identity and power dynamics between colonizers and colonized.Colonial Legacy: “I am the red man driven from the land, I am the immigrant clutching the hope I seek—”
Cultural Displacement: “For I’m the one who left dark Ireland’s shore, And Poland’s plain, and England’s grassy lea,”
Critical Race Theory (CRT)Investigates relationships between race, law, and power, emphasizing social justice and storytelling.Racial Injustice: “I am the Negro, servant to you all.”
Narrative of Racial Struggle: “Say, who are you that mumbles in the dark? And who are you that draws your veil across the stars?”
Critical Questions about “Let America Be America Again” by Langston Hughes

·       How does Hughes use the concept of the “American Dream” to critique American society?

  • Langston Hughes critically engages with the concept of the “American Dream” by juxtaposing its idealized vision against the harsh realities faced by marginalized groups in America. Throughout the poem, he repeatedly calls for America to “be the dream it used to be,” a dream of freedom and equality that has never been realized for many of its citizens (“America never was America to me”). Hughes exposes the contradiction between the dream and reality, particularly emphasizing the plight of those who are “poor white, fooled and pushed apart” and “the Negro bearing slavery’s scars,” who, despite their significant contributions to building the nation, remain oppressed and marginalized.

·       What role does the structure of the poem play in conveying its themes?

  • The structure of “Let America Be America Again” plays a critical role in conveying its themes of disillusionment and hope. Hughes uses a refrain that evolves throughout the poem, emphasizing the gap between the ideal and the reality of America. The refrain, “Let America be America again,” starts as a hopeful plea but becomes a desperate cry as the poem progresses. Moreover, the interjection of parenthetical statements (“(America never was America to me.)”) serves as a stark, personal counterpoint to the more general opening lines, highlighting the speaker’s personal disillusionment and the broader societal betrayal of the American dream.

·       How does Hughes depict the diverse experiences of marginalized groups in the poem?

  • Hughes vividly depicts the diverse experiences of marginalized groups through the voices of various characters who represent a cross-section of American society. Each voice adds to the collective narrative of exploitation and exclusion. For instance, “I am the Negro bearing slavery’s scars,” and “I am the red man driven from the land,” articulate the historical and ongoing oppression of African Americans and Native Americans, respectively. Additionally, the immigrant’s voice, “I am the immigrant clutching the hope I seek,” illustrates the disillusionment faced by those who arrive in America seeking a better life but find themselves ensnared in the same old “stupid plan / Of dog eat dog, of mighty crush the weak.”

·       What does Hughes suggest is necessary for America to truly embody the freedom it promises?

  • Hughes suggests that for America to truly embody the freedom it promises, a radical transformation is necessary—a reclaiming and restructuring of the nation based on genuine equality and justice. He calls for a collective action to redeem the land and its values from the “rack and ruin of our gangster death, / The rape and rot of graft, and stealth, and lies.” By invoking the collective “we, the people,” Hughes emphasizes the need for a unified effort to take back America and restore it to a land where “every man is free,” highlighting the necessity of inclusivity and active participation in democratic processes to achieve real change.
Literary Works Similar to “Let America Be America Again” by Langston Hughes
  1. “I, Too” by Langston Hughes: Similar to “Let America Be America Again,” this poem addresses the theme of racial inequality and the dream of a just and equitable America.
  2. “The Weary Blues” by Langston Hughes: Both poems explore the experiences of marginalized groups, with “The Weary Blues” focusing on the blues music and the struggles of African Americans.
  3. “Harlem” by Langston Hughes: This anthology of poems showcases the vibrant literary movement that emerged in Harlem during the 1920s, reflecting themes of racial identity, cultural pride, and social justice, similar to “Let America Be America Again.”
  4. “The Second Coming” by William Butler Yeats: While Yeats’ poem is not directly about race, it shares with “Let America Be America Again” a sense of impending doom and the collapse of societal order.
  5. “America” by Claude McKay: This poem also addresses themes of racial inequality and the American Dream, exploring the complexities of African American identity and the challenges of living in a racially divided society.
Suggested Readings: “Let America Be America Again” by Langston Hughes

Books:

Academic Articles:

Websites:

Representative Quotations of “Let America Be America Again” by Langston Hughes
QuotationContextTheoretical Perspective
“Let America be America again. Let it be the dream it used to be.”Hughes opens with a nostalgic invocation of the American dream, contrasting it with the current state of inequality.Marxist Literary Theory
“(America never was America to me.)”This parenthetical statement reveals the speaker’s personal disillusionment with America’s failure to fulfill its promise.Critical Race Theory (CRT)
“I am the poor white, fooled and pushed apart, I am the Negro bearing slavery’s scars.”Hughes voices the experiences of different racial groups who have been economically and socially marginalized.Postcolonial Theory
“Of dog eat dog, of mighty crush the weak.”The poem critiques capitalist society’s ruthless competitive ethos that undermines the common welfare.Marxist Literary Theory
“I am the young man, full of strength and hope, Tangled in that ancient endless chain”The young man symbolizes the new generation caught in the persistent cycles of exploitation and broken promises.Marxist Literary Theory
“There’s never been equality for me, Nor freedom in this ‘homeland of the free.'”This line highlights the stark contrast between the nation’s ideals of freedom and the reality of racial inequality.Critical Race Theory (CRT)
“O, let my land be a land where Liberty Is crowned with no false patriotic wreath,”Hughes calls for a genuine realization of liberty, free from superficial or deceptive nationalistic sentiments.Postcolonial Theory
“Who said the free? Not me? Surely not me? The millions on relief today?”The rhetorical questions challenge the notion of freedom in a country where many are dependent on government aid.Marxist Literary Theory
“We, the people, must redeem The land, the mines, the plants, the rivers.”Hughes advocates for collective action to reclaim and rebuild the nation based on equitable principles.Marxist Literary Theory
“America never was America to me, And yet I swear this oath—America will be!”The closing lines affirm a commitment to striving for the true potential of America, despite its historical failings.Critical Race Theory (CRT) & Postcolonial Theory

“It Came Upon a Midnight Clear” by Edmund Sears: A Critical Analysis

“It Came Upon a Midnight Clear,” a beautiful Christmas carol penned by Edmund Sears, first appeared in the 1849 collection Songs for the Christian Year.

"It Came Upon a Midnight Clear" by Edmund Sears: A Critical Analysis
Introduction: “It Came Upon a Midnight Clear” by Edmund Sears

“It Came Upon a Midnight Clear,” a beautiful Christmas carol penned by Edmund Sears, first appeared in the 1849 collection Songs for the Christian Year. The poem’s tranquil and reflective tone, combined with its evocative imagery of a peaceful night and a heavenly choir, has made it a perennial favorite. Sears’s lyrical masterpiece evokes a sense of wonder and awe, reminding listeners of the divine message of peace and goodwill.

Text: “It Came Upon a Midnight Clear” by Edmund Sears

It came upon a midnight clear,
That glorious song of old,
From angels bending near the earth
To touch their harps of gold:
“Peace on the earth, good will to men,
From heav’n’s all gracious King!”
The world in solemn stillness lay
To hear the angels sing.

Still thru the cloven skies they come
With peaceful wings unfurled,
And still their heav’nly music floats
O’er all the weary world:
Above its sad and lowly plains
They bend on hov’ring wing,
And ever o’er its Babel sounds
The blessed angels sing.

And ye, beneath life’s crushing load,
Whose forms are bending low,
Who toil along the climbing way
With painful steps and slow,
Look now! for glad and golden hours
Come swiftly on the wing:
O rest beside the weary road
And hear the angels sing.

For lo, the days are hast’ning on,
By prophet bards foretold,
When with the ever circling years
Comes round the age of gold;
When peace shall over all the earth
Its ancient spendors fling,
And the whole world give back the song
Which now the angels sing.

Annotations: “It Came Upon a Midnight Clear” by Edmund Sears
Line NumberLineAnnotation
1It came upon a midnight clear,Introduces a serene and peaceful setting.
2That glorious song of old,References the traditional Christmas carols.
3From angels bending near the earthSuggests a divine presence and heavenly intervention.
4To touch their harps of gold:Imagery of celestial music and harmony.
5“Peace on the earth, good will to men,The central message of the carol, emphasizing peace and goodwill.
6From heav’n’s all gracious King!”Attributes the message to a divine source.
7The world in solemn stillness layCreates a sense of reverence and awe.
8To hear the angels sing.Emphasizes the importance of the angelic message.
9Still thru the cloven skies they comeSuggests a miraculous and supernatural event.
10With peaceful wings unfurled,Imagery of peace and tranquility.
11And still their heav’nly music floatsReinforces the idea of the angelic song’s enduring quality.
12O’er all the weary world:Highlights the universal reach of the message.
13Above its sad and lowly plainsReferences the hardships and suffering of humanity.
14They bend on hov’ring wing,Suggests a watchful and caring presence.
15And ever o’er its Babel soundsContrasts the chaotic world with the harmonious angelic song.
16The blessed angels sing.Reinforces the idea of the angelic message as a blessing.
17And ye, beneath life’s crushing load,Addresses the suffering and burdened individuals.
18Whose forms are bending low,Imagery of physical and emotional exhaustion.
19Who toil along the climbing wayMetaphor for the challenges and hardships of life.
20With painful steps and slow,Emphasizes the difficulty of the journey.
21Look now! for glad and golden hoursOffers hope and encouragement.
22Come swiftly on the wing:Suggests a rapid and positive change.
23O rest beside the weary roadEncourages a moment of respite and peace.
24And hear the angels sing.Reinforces the idea of finding comfort and hope in the angelic message.
25For lo, the days are hastening on,Suggests a future filled with promise.
26By prophet bards foretold,References biblical prophecies.
27When with the ever circling yearsImplies a cyclical nature of time and events.
28Comes round the age of gold;Suggests a utopian or ideal future.
29When peace shall over all the earthEnvisions a world free from conflict and strife.
30Its ancient spendors fling,Imagery of a glorious and radiant future.
31And the whole world give back the songSuggests a universal adoption of the angelic message.
32Which now the angels sing.Reinforces the central theme of the carol.
Literary And Poetic Devices: “It Came Upon a Midnight Clear” by Edmund Sears
DeviceDefinitionExampleExplanation
AlliterationRepetition of consonant sounds at the beginning of words.“Still through the cloven skies they come”The repetition of the ‘s’ sound in “Still” and “skies” creates a musical quality and reinforces the serenity of the scene.
AllusionAn indirect reference to a well-known concept or text.“From heav’n’s all gracious King!”This references the divine, specifically alluding to God or Christ, contributing to the religious context of the poem.
AnaphoraRepetition of a word or phrase at the beginning of successive clauses.“And still their heav’nly music floats… And ever o’er its Babel sounds”The repetition of “And” emphasizes the continuous nature of the angels’ song.
AssonanceRepetition of vowel sounds in nearby words.“With peaceful wings unfurled”The repetition of the ‘e’ sound creates a soft, melodic tone, emphasizing the peace brought by the angels.
ConsonanceRepetition of consonant sounds, typically at the end of words.“To hear the angels sing”The repeated ‘r’ and ‘n’ sounds add to the musical quality of the line, enhancing the theme of angelic song.
End rhymeRhyming of words at the ends of lines.“From angels bending near the earth / To touch their harps of gold”The rhyme between “earth” and “gold” contributes to the harmonious and musical structure of the poem.
EnjambmentThe continuation of a sentence without a pause beyond the end of a line.“With peaceful wings unfurled, / And still their heav’nly music floats”This allows the flow of the sentence to carry over to the next line, creating a sense of ongoing movement in the scene.
HyperboleExaggeration for emphasis or effect.“Above its sad and lowly plains / They bend on hov’ring wing”The image of angels bending low to touch the plains is an exaggerated depiction of their closeness to humanity, symbolizing divine attention.
ImageryVisually descriptive language that appeals to the senses.“To touch their harps of gold”This creates a vivid mental picture of angels playing harps, appealing to the reader’s sense of sight and sound.
IronyExpression of meaning by using language that normally signifies the opposite.“And ever o’er its Babel sounds / The blessed angels sing”The contrast between the chaotic “Babel sounds” and the peaceful song of the angels highlights the irony of discord in the world against divine harmony.
MetaphorA direct comparison between two unlike things without using “like” or “as.”“Life’s crushing load”Life’s difficulties are compared to a physical burden, emphasizing the weight of human suffering.
OnomatopoeiaA word that imitates the sound it represents.“Sing”The word “sing” mimics the sound of the angels’ song, enhancing the musical quality of the poem.
OxymoronA figure of speech in which contradictory terms appear together.“Glad and golden hours”The combination of “glad” and “golden” presents contrasting ideas of emotion and time, symbolizing the richness of the hopeful future.
ParallelismThe use of components in a sentence that are grammatically the same.“To touch their harps of gold: / Peace on the earth, good will to men”The parallel structure in these lines enhances the rhythm and emphasizes the message of peace.
PersonificationAttributing human characteristics to non-human things.“With peaceful wings unfurled”The angels’ wings are described as “peaceful,” a human quality, to highlight their benevolent presence.
RefrainA repeated line or phrase in a poem.“To hear the angels sing”This line is repeated at the end of multiple stanzas, reinforcing the central theme of angelic song.
RepetitionThe recurrence of words or phrases to emphasize a point.“The angels sing”Repeated references to angels singing emphasize the celestial theme and reinforce the idea of divine peace.
SimileA comparison using “like” or “as.”“With painful steps and slow, / Like life’s crushing load”The speaker compares the hardships of life to a heavy load, using “like” to create a simile that conveys the burden of human suffering.
SymbolismThe use of symbols to represent ideas or qualities.“Harps of gold”The harps symbolize the divine music and peace that the angels bring, representing heavenly intervention.
ToneThe attitude of the speaker toward the subject.The tone of the poem is peaceful and hopeful.The use of gentle, serene language conveys a tone of peace, while the promise of future peace reflects hope for humanity.
Themes: “It Came Upon a Midnight Clear” by Edmund Sears
  1. Peace and Goodwill: The theme of peace and goodwill is central to the poem, echoing the traditional Christmas message. In the opening stanza, Sears writes, “Peace on the earth, good will to men, / From heav’n’s all gracious King!” This line emphasizes the divine desire for peace on Earth, highlighting the heavenly origins of this message through the depiction of angels who “touch their harps of gold.” The recurring reference to “peace” throughout the carol underscores its significance as a universal longing and divine blessing meant for all humanity.
  2. Divine and Heavenly Music: The poem vividly captures the celestial and spiritual essence of angelic music as a symbol of divine intervention and comfort. Sears describes how “the world in solemn stillness lay / To hear the angels sing.” This imagery suggests a moment of sacred pause and reflection where earthly troubles are momentarily transcended by the beauty of heavenly music. The repetition of scenes where angels sing, and the world listens, serves to reinforce the theme of spirituality and the comforting presence of divine forces in human life.
  3. Human Struggle and Respite: Sears contrasts the divine and serene with the harsh realities of human existence. He speaks to those “beneath life’s crushing load, / Whose forms are bending low,” illustrating the weight of human struggles and the laborious journey through life. Yet, he offers a vision of respite as he encourages the weary to “Look now! for glad and golden hours / Come swiftly on the wing.” This juxtaposition not only highlights the trials faced by humanity but also the promise of relief and moments of joy that are as swift and uplifting as the angels’ visitations.
  4. Eschatological Hope: The poem concludes with a forward-looking, eschatological vision of a world transformed by peace and renewed splendor. Sears reflects on the prophetic visions of “the days are hast’ning on, / By prophet bards foretold,” where a future “age of gold” will envelop the world, bringing about universal peace and joy. This ultimate redemption and renewal of the world, where “the whole world give back the song / Which now the angels sing,” captures a hopeful anticipation of a future where divine promises are fulfilled, and earthly existence is elevated to heavenly ideals.
Literary Theories and “It Came Upon a Midnight Clear” by Edmund Sears

1.     New Historicism: New Historicism focuses on understanding a literary work within the cultural and historical context in which it was written. Sears penned this poem in 1849, a period marked by social and political unrest in the United States, particularly concerning issues of slavery and the industrial revolution. The poem’s emphasis on peace and divine intervention can be seen as a response to the turbulence of the times, reflecting a yearning for harmony and a divine promise of a better future. References to “the age of gold” and the restoration of peace “over all the earth” reflect historical aspirations for a utopian era free from social strife and war.

2.     Cultural Criticism: Cultural criticism examines literature through the lens of cultural systems, including beliefs, practices, and politics. This poem engages with Christian motifs, particularly the angelic announcement of peace, which can be understood as a cultural artifact reflecting 19th-century American Protestant values. The recurrent theme of angels singing about peace resonates with Christian eschatological hopes for a renewed world. The cultural significance of these themes might be analyzed to understand how they offered solace and a sense of purpose to people during difficult times.

3.     Marxist Criticism: Marxist criticism explores the socio-economic forces that influence literature. “It Came Upon a Midnight Clear” can be interpreted as addressing the disparities and sufferings brought about by early industrial capitalism. The lines “And ye, beneath life’s crushing load, / Whose forms are bending low,” can be seen as acknowledging the plight of the working class. The poem’s call for peace and divine rest may critique the economic conditions that lead to such disparities, promoting a vision of social justice and equality through the metaphor of a universal chorus of peace and goodwill from heaven.

Critical Questions about “It Came Upon a Midnight Clear” by Edmund Sears
  • ·       What is the central theme of the poem?
  • Answer: The central theme of “It Came Upon a Midnight Clear” is the promise of peace and hope for humanity. The poem uses the imagery of angels singing on Christmas Eve to symbolize this divine intervention. The angels’ message of “Peace on the earth, good will to men” is a recurring motif throughout the poem, emphasizing the idea of a harmonious future for humanity.
  • ·       How does the poem use symbolism to convey its message?
  • Answer: The poem employs various symbols to reinforce its message. The angels, representing divine messengers, symbolize hope and peace. The “harps of gold” they play signify the celestial harmony and beauty associated with this message. The “cloven skies” suggest the breaking of earthly limitations and the descent of divine grace. The “weary world” and “crushing load” symbolize the suffering and burdens of humanity, contrasting with the angels’ message of hope and redemption.
  • ·       What is the significance of the poem’s setting?
  • Answer: The poem’s setting, a midnight clear, is significant because it represents a time of stillness, reflection, and spiritual awakening. The darkness of the night contrasts with the light and hope brought by the angels’ song. This setting creates a sense of awe and wonder, emphasizing the divine nature of the message.
  • ·       How does the poem address the issue of human suffering?
  • Answer: The poem acknowledges the suffering and burdens of humanity through references to “life’s crushing load,” “painful steps and slow,” and the “weary road.” However, it offers a message of hope and consolation by suggesting that divine intervention will bring relief and redemption. The angels’ song and the promise of a golden age serve as a source of comfort and encouragement for those who are struggling.
Literary Works Similar to “It Came Upon a Midnight Clear” by Edmund Sears
  1. “O Holy Night” by Placide Cappeau: This French Christmas carol, translated into English by John Sullivan Dwight, shares themes of divine intervention and peace, mirroring the hopeful and celestial imagery in Sears’ poem.
  2. “Silent Night” by Joseph Mohr: This widely known carol emphasizes the calm and holy aspect of Christmas night, similar to the “solemn stillness” and peaceful message depicted in “It Came Upon a Midnight Clear.”
  3. “Hark! The Herald Angels Sing” by Charles Wesley: This carol also features angels who herald the birth of Christ, aligning with Sears’ depiction of angels singing about peace and goodwill towards humanity.
  4. “Angels from the Realms of Glory” by James Montgomery: Like Sears’ poem, this carol calls on people to pay heed to the angelic message, emphasizing the spiritual significance and joyous news of the Christmas season.
Suggested Readings: “It Came Upon a Midnight Clear” by Edmund Sears

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Representative Quotations of “It Came Upon a Midnight Clear” by Edmund Sears
QuotationContextTheoretical Perspective
“It came upon a midnight clear, / That glorious song of old,”The poem begins by setting a scene of a serene, clear midnight when a heavenly song is heard, emphasizing a moment of divine revelation.New Historicism: Reflects the 19th-century American Christian ideal of receiving divine messages.
“From angels bending near the earth / To touch their harps of gold:”Angels are described as close to the earth, playing their golden harps, symbolizing divine intervention and celestial beauty.Cultural Criticism: Emphasizes Christian iconography and the angelic symbolism of peace and goodwill.
“Peace on the earth, good will to men, / From heav’n’s all gracious King!”The angels’ message is one of peace and goodwill from God, highlighting the central theme of divine benevolence.Marxist Criticism: Can be interpreted as a divine mandate for justice and equity, echoing social reformist sentiments.
“The world in solemn stillness lay / To hear the angels sing.”The world is personified as quietly attentive to the angelic song, suggesting a universal pause and reflection.New Historicism: Symbolizes a moment of collective contemplation and hope amidst the historical chaos of the era.
“And still their heav’nly music floats / O’er all the weary world:”The ongoing presence of heavenly music offers a continuous source of comfort over a tired and troubled world.Cultural Criticism: Represents the enduring spiritual support that faith offers to humanity in times of hardship.
“Above its sad and lowly plains / They bend on hov’ring wing,”Angels are depicted as hovering over the world’s sorrowful landscapes, providing a protective and comforting presence.Marxist Criticism: Highlights the need for divine or higher intervention in alleviating the suffering of the oppressed.
“And ye, beneath life’s crushing load, / Whose forms are bending low,”The poem addresses those burdened by life’s hardships, acknowledging their struggles.Marxist Criticism: Points to the plight of the laboring classes and the burdens imposed by capitalist society.
“Look now! for glad and golden hours / Come swiftly on the wing:”There is a promise of better times ahead, urging the weary to remain hopeful for imminent joy and relief.New Historicism: Offers an eschatological promise reflecting 19th-century optimism for a brighter future.
“For lo, the days are hast’ning on, / By prophet bards foretold,”The poem refers to prophetic visions of a future age of peace, linking to biblical prophecies and poetic foresight.Cultural Criticism: Ties into the Christian tradition of prophetic revelation and the anticipated fulfillment of divine promises.
“And the whole world give back the song / Which now the angels sing.”The poem concludes with a vision of the entire world participating in the angelic chorus, symbolizing global unity and peace.Cultural Criticism: Illustrates a utopian vision where all of humanity shares in the joy and peace heralded by the divine message.

“For My Lover, Returning to His Wife” by Anne Sexton: A Critical Analysis

“For My Lover, Returning to His Wife” by Anne Sexton, first appeared in 1961 in her collection, Live or Die, ischaracterized by its raw, confessional tone, exploring themes of love.

"For My Lover, Returning to His Wife" by Anne Sexton: A Critical Analysis
Introduction: “For My Lover, Returning to His Wife” by Anne Sexton

“For My Lover, Returning to His Wife” by Anne Sexton, first appeared in 1961 in her collection, Live or Die, ischaracterized by its raw, confessional tone, exploring themes of love, betrayal, and the complexities of human relationships. Sexton’s vivid imagery and emotional intensity capture the pain and anguish experienced by the speaker, who is forced to confront the loss of her lover to his wife. The main idea of the poem is a lament over the inevitability of separation and the enduring power of love despite its challenges.

Text: “For My Lover, Returning to His Wife” by Anne Sexton

She is all there.
She was melted carefully down for you
and cast up from your childhood,
cast up from your one hundred favorite aggies.
She has always been there, my darling.
She is, in fact, exquisite.
Fireworks in the dull middle of February
and as real as a cast-iron pot.
Let’s face it, I have been momentary.
vA luxury. A bright red sloop in the harbor.
My hair rising like smoke from the car window.
Littleneck clams out of season.
She is more than that. She is your have to have,
has grown you your practical your tropical growth.
This is not an experiment. She is all harmony.
She sees to oars and oarlocks for the dinghy,
has placed wild flowers at the window at breakfast,
sat by the potter’s wheel at midday,
set forth three children under the moon,
three cherubs drawn by Michelangelo,
done this with her legs spread out
in the terrible months in the chapel.
If you glance up, the children are there
like delicate balloons resting on the ceiling.
She has also carried each one down the hall
after supper, their heads privately bent,
two legs protesting, person to person,
her face flushed with a song and their little sleep.
I give you back your heart.
I give you permission —
for the fuse inside her, throbbing
angrily in the dirt, for the bitch in her
and the burying of her wound —
for the burying of her small red wound alive —
for the pale flickering flare under her ribs,
for the drunken sailor who waits in her left pulse,
for the mother’s knee, for the stocking,
for the garter belt, for the call —
the curious call
when you will burrow in arms and breasts
and tug at the orange ribbon in her hair
and answer the call, the curious call.
She is so naked and singular
She is the sum of yourself and your dream.
Climb her like a monument, step after step.
She is solid.
As for me, I am a watercolor.
I wash off.

Annotations: “For My Lover, Returning to His Wife” by Anne Sexton
Line from PoemAnnotation/Explanation
She is all there.The speaker acknowledges that the wife is complete and whole, unlike the speaker who sees herself as temporary or incomplete.
She was melted carefully down for youThe wife has been shaped and molded for the lover, suggesting she is everything he needs, possibly through years of dedication.
and cast up from your childhood,The wife is familiar, reminiscent of something from the lover’s past, connecting deeply with him, as though she embodies his memories and upbringing.
cast up from your one hundred favorite aggies.“Aggies” refer to marbles, a childhood game. The wife represents childhood joy, nostalgia, and comfort, forming a lasting bond.
She has always been there, my darling.The wife’s presence is enduring, long before the speaker entered the lover’s life.
She is, in fact, exquisite.The speaker praises the wife, admitting that she is perfect in many ways, perhaps more than herself.
Fireworks in the dull middle of FebruaryThe wife brings excitement and brightness, even in the bleakest times of life.
and as real as a cast-iron pot.The wife is solid, practical, and grounded, contrasting with the speaker’s more fleeting and ephemeral nature.
Let’s face it, I have been momentary.The speaker admits that her presence in the lover’s life is temporary, emphasizing her transitory role in his life compared to his wife.
A luxury. A bright red sloop in the harbor.The speaker describes herself as a luxury item, something exotic and appealing but not necessary, like a boat that’s admired but not used daily.
My hair rising like smoke from the car window.The speaker’s fleeting, ephemeral quality is compared to smoke, suggesting that she is passing by, ungraspable.
Littleneck clams out of season.Like out-of-season clams, the speaker’s relationship with the lover is indulgent, possibly forbidden, and outside the ordinary routine of life.
She is more than that. She is your have to have,The speaker contrasts herself with the wife, acknowledging that the wife is essential, not just a luxury or indulgence.
has grown you your practical your tropical growth.The wife has nurtured and helped the lover grow in a grounded, practical, and even exotic way, symbolizing his personal development.
This is not an experiment. She is all harmony.The wife is steady and constant; their marriage is not a test or trial, but a harmonious, lasting relationship.
She sees to oars and oarlocks for the dinghy,The wife is capable and takes care of the details, managing the practical aspects of their shared life, symbolized by the care for a small boat.
has placed wild flowers at the window at breakfast,The wife brings beauty and care to daily life, enriching their home environment in thoughtful ways.
sat by the potter’s wheel at midday,She is creative and productive, perhaps nurturing not just the family but also artistic pursuits.
set forth three children under the moon,The wife has given birth to and raised their children, described poetically as being “under the moon,” implying tenderness and care during nighttime rituals.
three cherubs drawn by Michelangelo,The children are idealized as angelic, reminiscent of classical art by Michelangelo, suggesting perfection and beauty.
done this with her legs spread outThe wife has endured the pain and effort of childbirth, emphasizing her physical sacrifice for the family.
in the terrible months in the chapel.The wife’s labor and pain are likened to a religious ordeal, emphasizing the seriousness and suffering involved in motherhood.
If you glance up, the children are thereThe children are ever-present, part of the wife’s legacy and a constant reminder of her role in the lover’s life.
like delicate balloons resting on the ceiling.The children are depicted as fragile and weightless, representing the tender and gentle nature of the family life the wife has built.
She has also carried each one down the hallThe wife has physically and emotionally cared for the children, walking them to bed after dinner.
after supper, their heads privately bent,The intimacy between mother and child is emphasized, with the children’s heads resting on her, suggesting closeness and trust.
two legs protesting, person to person,The children resist being carried, as children do, but it highlights the personal connection between mother and child.
her face flushed with a song and their little sleep.The wife sings to the children, showing tenderness and care as they drift off to sleep.
I give you back your heart.The speaker relinquishes the lover back to his wife, acknowledging that his true heart belongs to her.
I give you permission —The speaker formally gives her lover permission to return fully to his wife, letting go of any claims to him.
for the fuse inside her, throbbingThe wife’s inner passions and desires, perhaps her unresolved anger or intensity, are acknowledged.
angrily in the dirt, for the bitch in herThe wife’s potential for anger and strong emotions is recognized, acknowledging her complexity beyond the image of perfection.
and the burying of her wound —The wife’s pain, possibly caused by the affair, is mentioned, but she is also seen as suppressing or enduring it.
for the burying of her small red wound alive —The wife’s emotional wound is still alive, not fully healed, but she keeps it hidden and continues on.
for the pale flickering flare under her ribs,The wife’s quiet, ongoing emotions are symbolized by a weak but persistent flame, suggesting that she still feels deeply but suppresses it.
for the drunken sailor who waits in her left pulse,The wife contains a hidden passion or wildness, represented by the “drunken sailor,” which she keeps under control.
for the mother’s knee, for the stocking,The wife is both maternal and sensual, represented by the nurturing “mother’s knee” and the more sexual image of stockings.
for the garter belt, for the call —The garter belt emphasizes the wife’s sexuality, and the “call” hints at a deep, primal connection between her and the lover.
the curious callThe call symbolizes a strong, undeniable bond between the wife and the lover, which draws him back to her.
when you will burrow in arms and breastsThe lover seeks comfort and connection with the wife, physically and emotionally.
and tug at the orange ribbon in her hairThe “orange ribbon” symbolizes innocence or beauty, an intimate gesture that represents the lover’s return to familiar love.
and answer the call, the curious call.The lover responds to the deep, instinctual pull toward his wife, emphasizing the inevitability of his return to her.
She is so naked and singularThe wife is described as bare and unique, emphasizing her authenticity and individuality.
She is the sum of yourself and your dream.The wife embodies everything the lover is and desires, his ideal match.
Climb her like a monument, step after step.The wife is likened to a monument, something solid, unchanging, and worthy of admiration, symbolizing her permanence and strength.
She is solid.The wife is unwavering and dependable, a contrast to the speaker’s more fragile and transient nature.
As for me, I am a watercolor.The speaker compares herself to a watercolor painting, suggesting that she is delicate, fleeting, and impermanent.
I wash off.The speaker acknowledges her impermanence, fading away like watercolor when exposed to water, symbolizing the end of her affair with the lover and her acceptance that she cannot compete with the wife’s enduring presence.
Literary And Poetic Devices: “For My Lover, Returning to His Wife” by Anne Sexton
DeviceDefinitionExampleExplanation
MetaphorA figure of speech comparing two unlike things without using “like” or “as.”“She is all harmony.”The speaker compares the lover’s wife to a harmonious state, suggesting a sense of balance and completeness.
SimileA figure of speech comparing two unlike things using “like” or “as.”“I am a watercolor.”The speaker compares herself to a watercolor, implying a temporary and easily erased nature.
PersonificationGiving human qualities to non-human things.“The children are there like delicate balloons resting on the ceiling.”The children are compared to balloons, suggesting their innocence and fragility.
AlliterationThe repetition of the same consonant sound at the beginning of words.“She is all there.”The repetition of the “s” sound emphasizes the completeness and totality of the wife.
AssonanceThe repetition of the same vowel sound within words.“She is all there.”The repetition of the “a” sound creates a sense of unity and wholeness.
ImageryThe use of vivid language to create mental images.“Fireworks in the dull middle of February”The speaker creates a vivid image of unexpected excitement and passion.
SymbolismThe use of objects or images to represent abstract ideas.“The garter belt”The garter belt symbolizes sexuality, desire, and the seductive power of the wife.
EnjambmentThe continuation of a sentence or thought beyond the end of a line of poetry.“She is all there. / She was melted carefully down for you”Enjambment creates a sense of urgency and flow, mirroring the speaker’s emotions.
RepetitionThe repeated use of words or phrases.“She is all there.”The repetition emphasizes the importance and significance of the wife.
HyperboleExaggeration for effect.“She has grown you your practical your tropical growth.”The speaker exaggerates the wife’s influence on the lover’s life.
ParadoxA statement that seems contradictory but expresses a truth.“She is so naked and singular”The wife is both exposed and unique, suggesting a complex and paradoxical nature.
IronyA contrast between what is expected and what actually happens.“Let’s face it, I have been momentary.”The speaker ironically acknowledges her own temporary nature in the face of the wife’s enduring presence.
AllusionA reference to a famous person, place, thing, or event.“three cherubs drawn by Michelangelo”The allusion to Michelangelo’s cherubs emphasizes the beauty and perfection of the children.
ConnotationThe emotional associations attached to a word.“The drunken sailor”The phrase “drunken sailor” suggests a dangerous, unpredictable, and potentially destructive element within the wife.
DenotationThe literal meaning of a word.“The stocking”The stocking denotes a piece of clothing, but it also carries connotations of femininity and sexuality.
MetonymyThe use of the name of one thing to represent something related to it.“She is all there.”“All there” represents the entirety of the wife’s being.
SynecdocheThe use of a part to represent the whole, or vice versa.“I give you back your heart.”“Heart” represents the entire person and their love.
AntithesisThe juxtaposition of contrasting ideas or images.“I am a watercolor. / I wash off.”The speaker contrasts her temporary nature with the wife’s enduring presence.
AnaphoraThe repetition of a word or phrase at the beginning of successive clauses or sentences.“For the fuse inside her, throbbing / angrily in the dirt, for the bitch in her / and the burying of her wound —”Anaphora creates a sense of urgency and intensity.
OxymoronA combination of contradictory terms.“practical your tropical growth”The phrase “practical your tropical growth” suggests a combination of practicality and spontaneity.
Themes: “For My Lover, Returning to His Wife” by Anne Sexton
  1. The Inevitability of Separation and Loss: Sexton explores the painful reality of separation and loss in this poem. The speaker acknowledges that her relationship with the lover is ultimately temporary, and the inevitability of their parting casts a shadow over their love. This theme is evident in lines like “Let’s face it, I have been momentary” and “I give you back your heart.”
  2. The Power of Love and Devotion: Despite the inevitability of separation, Sexton also highlights the enduring power of love and devotion. The speaker expresses deep affection for the lover, and her words reveal the intensity of her feelings. The wife’s role as the “sum of [the lover’s] self and [his] dream” underscores her significance in his life and the profound impact of their relationship.
  3. The Complexities of Female Identity and Sexuality: Sexton delves into the complexities of female identity and sexuality through her portrayal of the wife. The wife is presented as a multifaceted figure, embodying both nurturing qualities and passionate desires. Her “small red wound alive” suggests a hidden, sensual aspect of her personality, while her role as a mother and homemaker highlights her traditional feminine qualities.
  4. The Conflict Between Passion and Domesticity: The poem explores the tension between passion and domesticity. The speaker’s passionate love for the lover contrasts with the wife’s more settled and domestic life. This conflict is evident in the juxtaposition of the speaker’s “bright red sloop in the harbor” with the wife’s “three children under the moon.”
Literary Theories and “For My Lover, Returning to His Wife” by Anne Sexton
Literary TheoryApplication to “For My Lover, Returning to His Wife” by Anne Sexton
Feminist TheoryFeminist theory examines gender roles, power dynamics, and the oppression of women. In this poem, the speaker is the “other woman” who compares herself unfavorably to the lover’s wife. The wife is seen as the “ideal woman” who fulfills traditional gender roles (e.g., childbirth, homemaking), while the speaker is a temporary pleasure. The poem critiques societal expectations of women’s roles in relationships, highlighting how the speaker feels like an outsider compared to the wife, who is depicted as essential and practical. Feminist theory could also explore the power imbalance between the wife and the speaker, as both women are affected by the man’s desires.
Psychoanalytic TheoryThis theory, particularly influenced by Freud, looks at the subconscious motivations of characters. In this poem, the speaker’s emotional struggle reflects feelings of inadequacy, desire, and loss. The wife, cast as the “mother figure,” is nurturing and essential, while the speaker is a temporary figure of desire. The poem explores deep psychological tensions, such as the lover’s return to a familiar and comforting figure (the wife) versus the temporary passion and freedom he experiences with the speaker. From a psychoanalytic perspective, the speaker’s feelings of being “momentary” could reflect her subconscious fears of rejection and impermanence.
Marxist TheoryMarxist theory examines class structures, power, and materialism in literature. In this poem, the relationship between the speaker and the wife can be interpreted through the lens of power and value. The wife represents stability, practicality, and the “need to have” (what is materially valuable), while the speaker is a “luxury” (something enjoyed but not essential). Marxist theory might interpret this as a reflection of the speaker’s understanding of her social or economic worth, as well as the lover’s return to his wife as an act of maintaining stability and social order, rather than pursuing fleeting pleasure.
Critical Questions about “For My Lover, Returning to His Wife” by Anne Sexton

·       How does the speaker portray the contrast between herself and the wife, and what does this say about her sense of self-worth?

  • In the poem, the speaker consistently contrasts herself with the lover’s wife, presenting herself as fleeting and momentary, while the wife is solid and permanent. The wife is described as “all harmony” and “the sum of yourself and your dream,” suggesting she is the ideal, complete partner for the lover. In contrast, the speaker refers to herself as a “luxury,” a “bright red sloop in the harbor,” and finally, as “a watercolor” that “washes off.” This imagery reflects the speaker’s internalized sense of being transient and insubstantial, reinforcing her belief that she cannot compete with the lasting presence of the wife. Her self-worth seems tied to the lover’s decision to return to his wife, reinforcing the idea that the speaker feels incomplete and less valuable.

·       How does the poem explore the theme of guilt, particularly in relation to the speaker’s role as the “other woman”?

  • The speaker’s tone throughout the poem suggests an underlying sense of guilt about her role in the affair. By acknowledging that the wife is “your have to have” and that the speaker herself has been “momentary,” the speaker seems to understand that she has disrupted the lover’s marriage, even if temporarily. The speaker’s statement, “I give you back your heart,” signifies her acceptance of the lover’s return to his wife, possibly motivated by guilt. The vivid description of the wife’s sacrifice, from childbirth (“with her legs spread out in the terrible months”) to daily caregiving (“carried each one down the hall after supper”), paints her as a figure who has endured significant hardship. In contrast, the speaker sees herself as a “luxury,” something indulgent but ultimately harmful to the stability of the family.

·       How does the poem reflect societal expectations of women and their roles within relationships and marriage?

  • The roles of the wife and the speaker in the poem reflect traditional societal expectations of women. The wife embodies the archetype of the dutiful, nurturing woman, taking care of children, running the household, and providing emotional and practical stability. Lines like “She is your have to have, has grown you your practical your tropical growth” suggest that the wife fulfills the lover’s essential needs. In contrast, the speaker presents herself as an outsider who cannot fulfill these long-term roles. She acknowledges that the wife is the one who is “solid,” while the speaker herself is more of a transient pleasure. This contrast reflects societal pressures on women to either conform to the domestic ideal or remain on the fringes as temporary distractions, unable to claim a permanent place within the family structure.

·       How does the imagery in the poem convey the emotional distance between the speaker and the lover?

  • The poem’s imagery vividly expresses the emotional distance the speaker feels between herself and the lover. The wife is portrayed as tangible and essential, with grounded imagery like “cast-iron pot” and “wild flowers at the window at breakfast.” These images depict her as deeply rooted in the lover’s life. In contrast, the speaker uses imagery that conveys her own impermanence and detachment: “My hair rising like smoke from the car window” and “I wash off.” These images suggest that the speaker’s relationship with the lover is fleeting, more fantasy than reality. The repetition of images tied to transience, like “watercolor” and “littleneck clams out of season,” emphasizes the emotional distance between the speaker and the lover, signaling that she can never fully enter into the stable, permanent relationship he has with his wife.
Literary Works Similar to “For My Lover, Returning to His Wife” by Anne Sexton
  1. “Daddy” by Sylvia Plath: Both poems explore themes of love, loss, and the complexities of female identity, with a focus on the destructive nature of certain relationships.
  2. “Lady Lazarus” by Sylvia Plath: Both poems feature strong female protagonists who defy societal expectations and explore themes of rebirth and transformation.
  3. “The Love Song of J. Alfred Prufrock” by T.S. Eliot: Both poems grapple with themes of alienation, anxiety, and the fear of aging, with a focus on the inner turmoil of the speaker.
  4. “My Last Duchess” by Robert Browning: Both poems explore the theme of obsession and control, with a focus on the possessive nature of male characters.
  5. “Dulce et Decorum Est” by Wilfred Owen: Both poems explore the horrors of war and the human cost of conflict, with a focus on the suffering and sacrifice of soldiers.
Suggested Readings: “For My Lover, Returning to His Wife” by Anne Sexton

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Representative Quotations of “For My Lover, Returning to His Wife” by Anne Sexton
QuotationContextTheoretical Perspective
“She is all there.”The poem opens with the speaker acknowledging the wife’s completeness, implying that the wife possesses qualities that the speaker lacks.Feminist Theory: Highlights the speaker’s internalization of societal expectations of women as “whole” and essential.
“Let’s face it, I have been momentary.”The speaker admits her temporary role in the lover’s life, emphasizing her transient existence in contrast to the wife’s permanence.Psychoanalytic Theory: Reflects the speaker’s subconscious sense of inadequacy and impermanence.
“She is your have to have.”The speaker recognizes the wife as a necessity in the lover’s life, someone essential to his existence and stability.Marxist Theory: The wife is valued as a “need,” while the speaker is a luxury, reflecting social and material roles.
“I give you back your heart.”The speaker formally relinquishes the lover, returning him to his rightful place with his wife.Psychoanalytic Theory: Represents the speaker’s emotional resolution and subconscious guilt for disrupting the marriage.
“Fireworks in the dull middle of February / and as real as a cast-iron pot.”The wife is described as both exciting and practical, highlighting her multifaceted role in the lover’s life.Feminist Theory: The wife embodies both traditional domesticity and vibrancy, reflecting idealized feminine roles.
“I wash off.”The speaker concludes by comparing herself to a watercolor that fades, accepting her impermanence.Feminist Theory: The speaker accepts her inability to exist in the lover’s permanent life, reflecting her instability.
“Climb her like a monument, step after step.”The wife is portrayed as a solid and reliable structure, something the lover can rely on and build upon.Marxist Theory: The wife represents stability and permanence, necessary for the lover’s social and emotional life.
“for the fuse inside her, throbbing / angrily in the dirt.”The speaker acknowledges the wife’s internal anger, perhaps caused by the affair, but repressed beneath her outward composure.Psychoanalytic Theory: Reveals the wife’s hidden emotional depth and repression, suggesting an inner conflict.
“She is so naked and singular.”The speaker emphasizes the wife’s raw and authentic presence in the lover’s life, positioning her as the lover’s true partner.Feminist Theory: Highlights the wife’s authenticity and unique position, making her essential in contrast to the speaker.
“A luxury. A bright red sloop in the harbor.”The speaker views herself as a temporary indulgence or luxury, something the lover enjoys but does not need for survival.Marxist Theory: The speaker symbolizes a non-essential pleasure, reflecting the idea of class and material hierarchy.