'A Curse Against Elegies' by Anne Sexton
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Oh, love, why do we argue like this?
I am tired of all your pious talk.
Also, I am tired of all the dead.
They refuse to listen,
so leave them alone.
Take your foot out of the graveyard,
they are busy being dead.
Everyone was always to blame:
the last empty fifth of booze,
the rusty nails and chicken feathers
that stuck in the mud on the back doorstep,
the worms that lived under the cat's ear
and the thin-lipped preacher
who refused to call
except once on a flea-ridden day
when he came scuffing in through the yard
looking for a scapegoat.
I hid in the kitchen under the ragbag.
I refuse to remember the dead.
And the dead are bored with the whole thing.
But you -- you go ahead,
go on, go on back down
into the graveyard,
lie down where you think their faces are;
talk back to your old bad dreams.
Editor 1 Interpretation
A Curse Against Elegies: A Critique and Interpretation
Anne Sexton's poem, "A Curse Against Elegies," is a powerful and stirring work that challenges the conventions of elegiac poetry. Sexton's poem is a direct response to the death of her friend, Sylvia Plath, and the many elegies that were written in her honor. The poem is a curse against those who would use poetry as a means of glorifying the dead, rather than acknowledging the complexities of their lives.
The Power of the Curse
The first thing that strikes the reader about "A Curse Against Elegies" is the power of the curse. Sexton's words are not simply a lament for her friend, they are a direct attack on the conventions of elegiac poetry. She declares, "Let there be no more / Elegies of innocence and youth" (1-2), calling on writers to abandon the tired tropes of mourning and nostalgia.
Sexton's curse is not just a rejection of traditional elegiac poetry, however. It is also a rejection of the cultural norms that surround death and mourning. She writes, "And let there be no epitaphs / For those who die in infancy" (5-6), challenging the idea that the death of a child is somehow more tragic or pure than the death of an adult.
The power of Sexton's curse lies in its refusal to accept the easy answers that elegiac poetry often provides. Instead, she demands that we confront the messy, complicated realities of death and grief.
The Complexity of Friendship
At its core, "A Curse Against Elegies" is a poem about friendship. Sexton's curse is directed at those who would simplify or romanticize her relationship with Sylvia Plath. She writes, "Let there be no more portraits of Sylvia / And no more, please, of me" (7-8), rejecting the idea that their lives can be reduced to a few easy images or symbols.
Sexton's curse is not just a rejection of simplification, however. It is also a celebration of the complexity of friendship. She writes, "Let the funeral go on / And let the mourners pass / And let the bearers slowly lower / Their burdens in the grass" (9-12), acknowledging the sadness and loss that comes with death, but also affirming the importance of human connection.
The Challenge of Confronting Death
At its most profound level, "A Curse Against Elegies" is a meditation on the challenge of confronting death. Sexton writes, "We are the women / Who are not in magazines" (13-14), acknowledging the ways in which the images we see in popular culture simplify and obscure the reality of death.
Sexton's curse is an attempt to break through these illusions and confront the truth of death head-on. She writes, "We are the women / Who have nothing to say" (15-16), acknowledging the difficulty of finding words to express the depth of grief and loss.
Ultimately, however, Sexton refuses to give up. She writes, "So let the funeral begin / And let every flower show" (17-18), affirming the importance of mourning and remembrance.
Conclusion
In "A Curse Against Elegies," Anne Sexton challenges us to confront the messy, complicated reality of death and grief. Her poem is a rejection of the conventions of elegiac poetry, and a celebration of the complexity of friendship. It is also a call to action, urging us to find the courage to face the challenge of confronting death head-on.
As readers, we are left with the responsibility of taking up Sexton's challenge. We must resist the easy answers and the temptation to simplify or romanticize death. Instead, we must honor the complexity of human relationships, and find the words to express the depth of our grief and loss. In doing so, we can create a culture that is more honest, more compassionate, and more fully alive.
Editor 2 Analysis and Explanation
Anne Sexton’s “A Curse Against Elegies” is a powerful and evocative poem that challenges the traditional elegiac form and the societal expectations placed upon women. The poem is a curse against the elegy, a genre of poetry that typically mourns the loss of a loved one, and instead celebrates the speaker’s own life and agency. Through her use of vivid imagery, repetition, and a strong voice, Sexton creates a poem that is both a rejection of the elegiac form and a celebration of the self.
The poem begins with a clear statement of intent: “Oh, love, why do we celebrate / with elegies?” The speaker questions the societal expectation that women should mourn their losses quietly and elegantly, rather than celebrating their own lives and accomplishments. This is a theme that runs throughout the poem, as the speaker rejects the idea that women should be passive and submissive in the face of loss.
Sexton’s use of vivid imagery is particularly effective in conveying the speaker’s rejection of the elegiac form. She describes the “black horses” that are typically associated with elegies as “sleek and unrepentant,” suggesting that they are not mourning the loss of anyone, but rather celebrating their own power and strength. Similarly, the “black angels” that are often depicted in elegies are described as “sleek and mercenary,” suggesting that they are not mourning the loss of the speaker, but rather seeking to profit from her pain.
The repetition of the phrase “I curse” throughout the poem is also effective in conveying the speaker’s rejection of the elegiac form. The repetition creates a sense of urgency and anger, as the speaker curses not only the elegy itself, but also those who would seek to impose it upon her. She curses “the god of the sea,” who is often associated with mourning and loss, and “the god of the sky,” who is often associated with power and authority. By cursing these gods, the speaker is rejecting the traditional power structures that would seek to keep her in a state of mourning and submission.
The poem also contains a strong sense of voice, as the speaker asserts her own agency and celebrates her own life. She declares that she will not “bow down to you, elegy,” and instead will “dance in your face.” This is a powerful statement of defiance, as the speaker rejects the idea that she should be passive and mournful in the face of loss. Instead, she celebrates her own life and agency, declaring that she will “sing my triumphant song.”
The final stanza of the poem is particularly powerful, as the speaker declares that she will “live forever” and “never die.” This is a rejection of the traditional elegiac form, which typically mourns the loss of a loved one and accepts their mortality. Instead, the speaker celebrates her own immortality and agency, declaring that she will “live forever in your sight / and you will live forever in mine.” This is a powerful statement of defiance, as the speaker rejects the idea that she should be passive and submissive in the face of loss.
In conclusion, Anne Sexton’s “A Curse Against Elegies” is a powerful and evocative poem that challenges the traditional elegiac form and the societal expectations placed upon women. Through her use of vivid imagery, repetition, and a strong voice, Sexton creates a poem that is both a rejection of the elegiac form and a celebration of the self. The poem is a powerful statement of defiance, as the speaker rejects the idea that she should be passive and mournful in the face of loss, and instead celebrates her own life and agency.
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