“The End of the Weekend” by Anthony Hecht: A Critical Analysis

“The End of the Weekend” by Anthony Hecht, first appeared in 1967 in the collection The Hard Hours, explores themes of desire, mortality, and the intrusion of the sublime or uncanny into human intimacy.

"The End of the Weekend" by Anthony Hecht: A Critical Analysis
Introduction: “The End of the Weekend” by Anthony Hecht

“The End of the Weekend” by Anthony Hecht, first appeared in 1967 in the collection The Hard Hours, explores themes of desire, mortality, and the intrusion of the sublime or uncanny into human intimacy. Hecht’s masterful blending of narrative and lyrical elements, alongside his vivid imagery, creates an atmosphere that is simultaneously sensual and foreboding. The poem’s striking juxtaposition of the ordinary—a romantic encounter in a cabin—and the extraordinary—a confrontation with a menacing, symbolic presence—reflects the tension between human vulnerability and the vast, indifferent forces of nature and death. Its popularity as a “textbook poem” stems from its technical sophistication, evocative use of sound and imagery, and its capacity to provoke deep literary and philosophical discussions about human experience and the sublime.

Text: “The End of the Weekend” by Anthony Hecht

A dying firelight slides along the quirt
Of the cast iron cowboy where he leans
Against my father’s books. The lariat
Whirls into darkness. My girl in skin tight jeans
Fingers a page of Captain Marriat
Inviting insolent shadows to her shirt.

We rise together to the second floor.
Outside, across the lake, an endless wind
Whips against the headstones of the dead and wails
In the trees for all who have and have not sinned.
She rubs against me and I feel her nails.
Although we are alone, I lock the door.

The eventual shapes of all our formless prayers:
This dark, this cabin of loose imaginings,
Wind, lip, lake, everything awaits
The slow unloosening of her underthings
And then the noise. Something is dropped. It grates
against the attic beams. I climb the stairs
Armed with a belt.

A long magnesium shaft
Of moonlight from the dormer cuts a path
Among the shattered skeletons of mice.
A great black presence beats its wings in wrath.
Above the boneyard burn its golden eyes.
Some small grey fur is pulsing in its grip.

Annotations: “The End of the Weekend” by Anthony Hecht
LineAnnotation
A dying firelight slides along the quirt / Of the cast iron cowboy where he leansThe “dying firelight” sets a melancholic and foreboding tone. The quirt (a whip handle) and cast iron cowboy evoke nostalgia and rugged masculinity, contrasting with the intimacy to follow.
Against my father’s books. The lariat / Whirls into darkness.The father’s books symbolize knowledge or authority, while the lariat (a cowboy’s rope) metaphorically whirls into darkness, hinting at the unknown and the encroachment of chaos.
My girl in skin tight jeans / Fingers a page of Captain MarriatThe modern sensuality of “skin tight jeans” contrasts with the old-world adventure of Captain Marryat’s works, blending eroticism with a literary ambiance.
Inviting insolent shadows to her shirt.Shadows suggest ambiguity and a sense of creeping unease, as though sensuality also brings vulnerability or danger.
We rise together to the second floor.The act of ascending the stairs could symbolize a transition to intimacy or a movement into a private, liminal space away from societal norms.
Outside, across the lake, an endless wind / Whips against the headstones of the deadThe wind’s ferocity against the headstones adds a gothic, eerie element, linking the natural environment with mortality and the inevitability of death.
and wails / In the trees for all who have and have not sinned.The “wailing” wind evokes guilt or divine judgment, emphasizing universal human frailty and the tension between morality and desire.
She rubs against me and I feel her nails. / Although we are alone, I lock the door.The intimacy is palpable, but the act of locking the door underscores the tension between vulnerability, privacy, and the implicit fear of intrusion or judgment.
The eventual shapes of all our formless prayers:Suggests the culmination of desires and anxieties in a tangible act or experience. “Formless prayers” reflect subconscious fears and hopes taking shape in this moment.
This dark, this cabin of loose imaginings,The darkness and “loose imaginings” highlight the uncertainty and potential for either creativity or chaos in this isolated space.
Wind, lip, lake, everything awaitsThese natural and sensual images converge, building an atmosphere of anticipation, as though the environment itself participates in their experience.
The slow unloosening of her underthingsA direct, intimate moment that juxtaposes the tension of the earlier imagery with an explicit act of vulnerability and sensuality.
And then the noise. Something is dropped. It gratesThe sudden noise disrupts the moment, introducing an element of suspense or intrusion, breaking the flow of intimacy.
against the attic beams. I climb the stairs / Armed with a belt.The narrator’s decision to arm himself adds a sense of foreboding and defensive readiness, as though the threat is both external and symbolic.
A long magnesium shaft / Of moonlight from the dormer cuts a pathThe moonlight’s sharpness contrasts with the earlier warmth of firelight, casting a stark and cold clarity over the unfolding scene.
Among the shattered skeletons of mice.The imagery of shattered mice skeletons evokes decay and death, reinforcing the gothic, eerie tone of the attic space.
A great black presence beats its wings in wrath.The “great black presence” (likely an owl) symbolizes death or the sublime, an elemental force beyond human control, intruding into the private sphere.
Above the boneyard burn its golden eyes.The owl’s “golden eyes” provide a moment of vivid focus, connecting the creature to themes of death, wisdom, and predation.
Some small grey fur is pulsing in its grip.The image of a small prey being caught emphasizes the inevitability of mortality and the natural order, paralleling the tension in the human encounter below.
Literary And Poetic Devices: “The End of the Weekend” by Anthony Hecht
DeviceExampleExplanation
Alliteration“shattered skeletons of mice”The repetition of the “s” sound creates a sharp, hissing tone, emphasizing decay and eeriness in the attic scene.
Ambiguity“Although we are alone, I lock the door.”The act of locking the door suggests both intimacy and fear, leaving the reader questioning the motive and emotional undertone.
Anaphora“Wind, lip, lake, everything awaits”The repetition of structure and rhythm emphasizes the convergence of nature, desire, and anticipation.
Assonance“Whips against the headstones of the dead”The repetition of the “e” sound evokes a somber and mournful tone, matching the subject matter of death and wailing wind.
Caesura“Although we are alone, I lock the door.”The pause mid-line creates tension and a sense of hesitation, mirroring the narrator’s inner conflict.
Consonance“lip, lake, everything awaits”The repetition of the “l” sound creates a flowing rhythm, contrasting with the darker imagery that follows.
Contrast“A dying firelight” vs. “A great black presence”The contrast between warmth and decay versus darkness and predation highlights the tension between comfort and fear.
Dark Imagery“shattered skeletons of mice”This graphic image evokes death and decay, enhancing the poem’s gothic tone.
Diction“This dark, this cabin of loose imaginings”The choice of words like “dark” and “loose imaginings” conveys uncertainty and a sense of foreboding.
Enjambment“The eventual shapes of all our formless prayers: / This dark, this cabin of loose imaginings”The continuation of the sentence across lines reflects the fluidity and tension of the moment being described.
Foreshadowing“Something is dropped. It grates against the attic beams.”The noise and mention of the attic hint at the menacing presence revealed later in the poem.
Gothic Elements“Above the boneyard burn its golden eyes.”The imagery of a boneyard and ominous creature invokes a classic gothic atmosphere.
Imagery“A long magnesium shaft / Of moonlight from the dormer cuts a path”The vivid description appeals to the visual sense, setting a dramatic and eerie scene.
Juxtaposition“The slow unloosening of her underthings” vs. “Something is dropped”The sensual and intimate moment is interrupted by a jarring noise, creating a sharp contrast between passion and fear.
Metaphor“The eventual shapes of all our formless prayers”Prayers are compared to shapes, suggesting that emotions and desires take on tangible forms through experience.
Mood“A great black presence beats its wings in wrath.”The ominous description of the creature establishes a mood of fear and tension.
Personification“Wind… wails in the trees”The wind is given human qualities of wailing, creating a ghostly and unsettling atmosphere.
Symbolism“A great black presence beats its wings in wrath.”The black presence (likely an owl) symbolizes death, fate, or an uncontrollable external force.
Tone“Outside, across the lake, an endless wind / Whips against the headstones of the dead”The tone is somber and reflective, infused with a sense of inevitable mortality and judgment.
Visual Imagery“Some small grey fur is pulsing in its grip.”This vividly describes the prey in the owl’s grasp, emphasizing the natural violence that mirrors the tension of the human encounter.
Themes: “The End of the Weekend” by Anthony Hecht

1. Desire and Intimacy

The theme of desire is central to “The End of the Weekend”, as it explores the physical and emotional connection between the speaker and his partner. Lines such as “The slow unloosening of her underthings” vividly depict the anticipation of intimacy, while the act of locking the door emphasizes the private, almost sacred nature of their moment. However, this desire is juxtaposed with an underlying tension, suggesting vulnerability and the fragility of human connection amidst external forces.


2. Mortality and the Sublime

Mortality pervades the poem, with the imagery of “headstones of the dead” and “shattered skeletons of mice” serving as stark reminders of the inevitability of death. The “great black presence” in the attic, with its “golden eyes”, embodies the sublime—a force that is both awe-inspiring and terrifying. This confrontation with mortality interrupts the couple’s intimate moment, suggesting that human desire is overshadowed by the vast and indifferent forces of nature and death.


3. Nature and Its Omnipotence

The natural world in the poem is portrayed as a powerful, uncontrollable force that influences human experience. The “endless wind” that “whips against the headstones” evokes the relentlessness of nature, indifferent to human emotions and actions. Similarly, the owl in the attic symbolizes the predatory and cyclical nature of life, as it grips “some small grey fur”, reminding readers of the natural order and humanity’s vulnerability within it.


4. Tension Between the Ordinary and the Uncanny

The poem skillfully balances the ordinary and the uncanny, creating an atmosphere of suspense. The couple’s mundane actions, such as climbing the stairs and locking the door, are interspersed with unsettling moments, like the sudden noise from the attic. The transition from the sensual intimacy of “this dark, this cabin of loose imaginings” to the eerie confrontation with the owl underscores the unpredictable intrusion of the uncanny into everyday life, highlighting the fragility of perceived security.

Literary Theories and “The End of the Weekend” by Anthony Hecht
Literary TheoryApplication to the PoemReferences and Explanation
Psychoanalytic TheoryExplores the unconscious desires, fears, and conflicts of the speaker.The speaker’s intense desire, represented by “The slow unloosening of her underthings,” is juxtaposed with fear, as shown in “Although we are alone, I lock the door.” Freud’s concepts of Eros (desire) and Thanatos (death drive) are evident in the tension between intimacy and the intrusion of mortality, symbolized by the owl.
Feminist TheoryExamines gender dynamics, power relations, and representation of the female character.The woman in the poem is described through a male lens, emphasizing her physicality (“My girl in skin tight jeans”) and her role in the speaker’s experience. Feminist critique would question her lack of agency and the objectification implicit in the focus on her body and actions.
EcocriticismAnalyzes the representation of nature and its interaction with human experience.Nature is portrayed as a dominant and indifferent force, with imagery such as “endless wind / Whips against the headstones of the dead” and “A great black presence beats its wings in wrath.” The owl, a symbol of nature’s predatory cycle, mirrors human vulnerability, positioning humanity as part of, yet subordinate to, nature.
Gothic TheoryFocuses on elements of fear, the uncanny, and the sublime.The poem employs classic Gothic motifs, such as the “dark, this cabin of loose imaginings” and the “great black presence” in the attic. The sudden noise that “grates against the attic beams” and the confrontation with the owl evoke a sense of the uncanny, disrupting the couple’s intimacy with fear and awe.
Critical Questions about “The End of the Weekend” by Anthony Hecht

1. How does the poem explore the tension between human intimacy and mortality?

In “The End of the Weekend”, Anthony Hecht juxtaposes moments of human intimacy with vivid reminders of mortality. The couple’s physical connection, represented by “The slow unloosening of her underthings,” is intimate and tender, yet it is intruded upon by “the noise” from the attic, symbolizing the inevitable intrusion of death into life. The confrontation with the owl, described as a “great black presence” with “golden eyes”, reinforces this tension. The owl, a natural predator, embodies mortality and the sublime, emphasizing how even in moments of closeness, the specter of death is never far. The locked door and the act of arming himself with a belt further underscore the vulnerability of human existence amidst larger, uncontrollable forces.


2. How does nature function as both a backdrop and an active force in the poem?

Nature in the poem is more than a setting; it is an active and indifferent force that interacts with the human characters. The “endless wind” that “whips against the headstones of the dead” sets a somber and foreboding mood, reminding readers of nature’s power and humanity’s fragility. The owl in the attic serves as a focal point, symbolizing nature’s predatory and cyclical forces. The description of “some small grey fur… pulsing in its grip” highlights the relentless cycle of life and death. By intertwining the natural world with the characters’ intimate experience, Hecht emphasizes that human emotions and actions are insignificant against the vast and eternal forces of nature.


3. What role does the uncanny play in disrupting the poem’s progression?

The uncanny plays a pivotal role in “The End of the Weekend”, disrupting the narrative of intimacy and creating a sense of unease. The poem transitions from the sensual—“She rubs against me and I feel her nails”—to the unsettling, as “Something is dropped. It grates against the attic beams.” This sudden noise marks the intrusion of the uncanny, heightening the tension. The attic scene, with its “shattered skeletons of mice” and the “great black presence”, evokes fear and awe, transforming the space into one of confrontation with the unknown. The uncanny presence of the owl, with its “golden eyes”, shifts the tone of the poem, emphasizing how moments of human intimacy can be disrupted by inexplicable and unsettling forces.


4. How does the poem address the concept of vulnerability?

Vulnerability is a recurring theme in the poem, reflected in both human and natural realms. The speaker and his partner, despite their intimate connection, are surrounded by elements of danger and decay. The locked door—“Although we are alone, I lock the door”—suggests an attempt to create a sanctuary, yet the noise from the attic reminds them of their susceptibility to external threats. The owl, a predator holding “some small grey fur” in its grip, symbolizes the inevitability of predation and death. Even in the couple’s private moment, the broader forces of nature and mortality render them vulnerable, underscoring the fragility of human existence amidst the uncaring natural world.

Literary Works Similar to “The End of the Weekend” by Anthony Hecht
  1. “Ode to a Nightingale” by John Keats
    Shares themes of mortality and the sublime, as both poems use natural imagery (the nightingale and the owl) to explore the tension between human longing and the inevitability of death.
  2. “The Raven” by Edgar Allan Poe
    Both poems create a gothic atmosphere and feature a dark, symbolic bird (the raven and the owl) that serves as a harbinger of death and the uncanny.
  3. “Leda and the Swan” by W.B. Yeats
    Examines the intersection of human vulnerability and overwhelming cosmic forces, similar to Hecht’s juxtaposition of intimacy and the sublime in nature.
  4. “Love Among the Ruins” by Robert Browning
    Combines themes of love and decay, reflecting Hecht’s exploration of intimacy amidst reminders of mortality and the passage of time.
  5. “Because I Could Not Stop for Death” by Emily Dickinson
    Like Hecht’s poem, it delves into the omnipresence of death, using striking imagery and tone shifts to explore mortality’s intrusion into ordinary life.
Representative Quotations of “The End of the Weekend” by Anthony Hecht
QuotationContextTheoretical Perspective
“A dying firelight slides along the quirt / Of the cast iron cowboy where he leans”Sets the scene in a rustic, nostalgic environment, introducing a sense of fading warmth.Ecocriticism: Highlights the interplay between human-made objects and nature’s diminishing light, evoking transience.
“Outside, across the lake, an endless wind / Whips against the headstones of the dead”Evokes a somber, gothic atmosphere with natural and mortal imagery.Gothic Theory: Nature is indifferent, serving as a force that emphasizes mortality and the fragility of human existence.
“She rubs against me and I feel her nails. / Although we are alone, I lock the door.”The couple shares an intimate moment, but the locked door hints at vulnerability or fear.Psychoanalytic Theory: Reflects the tension between desire (Eros) and underlying anxiety or fear (Thanatos).
“This dark, this cabin of loose imaginings, / Wind, lip, lake, everything awaits”Suggests a buildup of anticipation in an isolated setting, blending nature with human desire.Phenomenology: Explores the perception of intimacy and nature as unified experiences of the speaker.
“The slow unloosening of her underthings”An explicit moment of vulnerability and intimacy between the speaker and his partner.Feminist Theory: Raises questions about the portrayal of female agency in male-dominated perspectives.
“Something is dropped. It grates / Against the attic beams.”A sudden noise disrupts the intimacy, introducing suspense and fear.Gothic Theory: The uncanny intrusion creates tension, blending human vulnerability with external forces.
“A long magnesium shaft / Of moonlight from the dormer cuts a path”Describes a stark, cold light that exposes the attic scene.Ecocriticism: Nature, through the moonlight, serves as an impartial observer of human events and vulnerabilities.
“A great black presence beats its wings in wrath.”The owl, a predatory symbol, dominates the attic scene, embodying death and the sublime.Psychoanalytic Theory: Represents an external manifestation of the speaker’s subconscious fears of mortality.
“Above the boneyard burn its golden eyes.”The owl’s eyes shine in the darkness, symbolizing wisdom, death, and predation.Symbolism: The golden eyes signify a divine or predatory omniscience, tying nature to mortality and fate.
“Some small grey fur is pulsing in its grip.”Describes the owl’s prey, emphasizing the inevitability of death and predation.Ecocriticism: Highlights the unflinching reality of nature’s cycle of life and death, mirrored in human vulnerabilities.
Suggested Readings: “The End of the Weekend” by Anthony Hecht
  1. Fairchild, B. H. “In Memoriam: Anthony Hecht.” The Sewanee Review, vol. 113, no. 3, 2005, pp. 463–67. JSTOR, http://www.jstor.org/stable/27549712. Accessed 27 Dec. 2024.
  2. Hecht, Anthony. “The End of the Weekend.” The Hudson Review 12.3 (1959): 357-357.

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