'To S.M., A Young African Painter, On Seeing His Works' by Phillis Wheatley


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O show the lab'ring bosom's deep intent,
And thought in living characters to paint,
When first thy pencil did those beauties give,
And breathing figures learnt from thee to live,
How did those prospects give my soul delight,
A new creation rushing on my sight?
Still, wond'rous youth! each noble path pursue,
On deathless glories fix thine ardent view:
Still may the painter's and the poet's fire
To aid thy pencil, and thy verse conspire!
And may the charms of each seraphic theme
Conduct thy footsteps to immortal fame!
High to the blissful wonders of the skies
Elate thy soul, and raise thy wishful eyes.
Thrice happy, when exalted to survey
That splendid city, crown'd with endless day,
Whose twice six gates on radiant hinges ring:
Celestial Salem blooms in endless spring.

Calm and serene thy moments glide along,
And may the muse inspire each future song!
Still, with the sweets of contemplation bless'd,
May peace with balmy wings your soul invest!
But when these shades of time are chas'd away,
And darkness ends in everlasting day,
On what seraphic pinions shall we move,
And view the landscapes in the realms above?
There shall thy tongue in heav'nly murmurs flow,
And there my muse with heav'nly transport glow:
No more to tell of Damon's tender sighs,
Or rising radiance of Aurora's eyes,
For nobler themes demand a nobler strain,
And purer language on th' ethereal plain.
Cease, gentle muse! the solemn gloom of night
Now seals the fair creation from my sight.


Anonymous submission.

Editor 1 Interpretation

To S.M., A Young African Painter, On Seeing His Works by Phillis Wheatley: A Literary Criticism and Interpretation

Phillis Wheatley was the first African-American woman who published a book of poetry in the United States in 1773. Born in West Africa and sold into slavery, she was brought to Boston, Massachusetts, where she was purchased by John Wheatley, a wealthy merchant. In Wheatley's household, Phillis was educated and encouraged to write poetry. In her short life, she wrote many poems on religion, morality, and politics, and her work was highly praised by many prominent figures of the time, including George Washington and Benjamin Franklin.

One of her most notable poems is "To S.M., A Young African Painter, On Seeing His Works." The poem was written to a young African painter, whose identity is unknown, and it praises his artistic talents. The poem is a masterpiece of poetic expression, and it captures the essence of the African-American experience in the eighteenth century.

The Poem

To S.M., a young African Painter, on seeing his Works

To show the lab'ring bosom's deep intent, And thought in living characters to paint, When first thy pencil did those beauties give, And breathing figures learnt from thee to live, How did those prospects give my soul delight, A new creation rushing on my sight? Still, wond'rous youth! each noble path pursue, On deathless glories fix thy steadfast view: Still may the painter's and the poet's fire To aid thy pencil, and thy verse conspire! And may the charms of each seraphic theme Conduct thy footsteps to immortal fame!

High to the blissful wonders of the skies Elate thy soul, and raise thy wishful eyes. Thrice happy, when exalted to survey That splendid city, crowned with endless day, Whose twice six gates on radiant hinges ring: Celestial Salem blooms in endless spring. Calm and serene thy moments glide along, And may the muse inspire each future song! Still, with the sweets of contemplation blessed, May peace with balmy wings your soul invest!

But when these shades of time are chased away, And darkness ends in everlasting day, On what seraphic pinions shall we move, And view the landscapes in the realms above? There shall thy tongue in heavenly murmurs flow, And there my muse with heavenly transport glow: No more to tell of Damon's tender sighs, Or rising radiance of Aurora's eyes, For nobler themes demand a nobler strain, And purer language on th' ethereal plain.

Cease, gentle Muse! the solemn gloom of night Now seals the fair creation from my sight.

The poem consists of three stanzas, each with eight lines. The rhyme scheme is ABABCBBC, which is typical of the heroic couplet form. The poem is written in iambic pentameter, which gives it a rhythmic flow, and it makes use of many poetic devices, including alliteration, personification, and symbolism, to convey its message.

Analysis

The poem begins with the speaker admiring the painter's work. The painter's art is described as a "new creation rushing on my sight," which emphasizes the power of art to create something new and beautiful. The painter is encouraged to continue on his path and to aim for "deathless glories." This phrase suggests that the painter's work has the potential to be immortalized in the annals of history.

The second stanza of the poem describes the painter's ideal future, where he is inspired by the "charms of each seraphic theme" and is led to "immortal fame." The imagery of "celestial Salem" and the "splendid city, crowned with endless day" is used to represent the afterlife, where the painter's soul will be "elate" and his moments will "glide along." This vision of the afterlife is a common theme in Wheatley's poetry, and it reflects her deep religious beliefs.

The final stanza of the poem is a meditation on the afterlife, where the poet and the painter will be free to create art that is not limited by the constraints of time and space. The "ethereal plain" is described as a place where "nobler themes demand a nobler strain," which suggests that the art created there will be of a higher quality than anything that can be created on earth.

Throughout the poem, Wheatley uses the language of art to convey her message. The painter's art is compared to the poet's "fire," and both are encouraged to "conspire" to create works of art that will be remembered for generations to come. This metaphor suggests that art is a powerful force that can inspire people and change the world.

Interpretation

"To S.M., A Young African Painter, On Seeing His Works" is a poem about the power of art to create something new and beautiful. The painter's art is described as a "new creation rushing on my sight," which emphasizes the transformative nature of art. The painter is encouraged to continue on his path and to aim for "deathless glories," which suggests that his work has the potential to be immortalized in the annals of history.

The poem is also a meditation on the afterlife, where the poet and the painter will be free to create art that is not limited by the constraints of time and space. Wheatley uses the language of art to convey her message, and she suggests that art is a powerful force that can inspire people and change the world.

The poem is also a reflection of Wheatley's deep religious beliefs. The imagery of "celestial Salem" and the "splendid city, crowned with endless day" is used to represent the afterlife, where the painter's soul will be "elate" and his moments will "glide along." This vision of the afterlife is a common theme in Wheatley's poetry, and it reflects her belief in God and the power of faith.

Finally, the poem is a celebration of African-American art and culture. The painter is described as a "young African painter," which suggests that his race is an important part of his identity. Wheatley's poem is a celebration of the diversity and richness of African-American culture, and it serves as a reminder that art can be a powerful tool for social change.

Conclusion

"To S.M., A Young African Painter, On Seeing His Works" is a masterpiece of poetic expression. It captures the essence of the African-American experience in the eighteenth century, and it celebrates the power of art to create something new and beautiful. The poem is a reflection of Wheatley's deep religious beliefs, and it serves as a celebration of African-American art and culture. Overall, "To S.M., A Young African Painter, On Seeing His Works" is a testament to the power of poetry to inspire and uplift us, even in the darkest of times.

Editor 2 Analysis and Explanation

To S.M., A Young African Painter, On Seeing His Works: A Masterpiece of African American Literature

Phillis Wheatley, the first African American woman to publish a book of poetry, wrote To S.M., A Young African Painter, On Seeing His Works in 1773. This classic poem is a tribute to Scipio Moorhead, a young African painter who was enslaved in Boston. Wheatley's poem is a masterpiece of African American literature that celebrates the artistic talent of a young man who was denied the freedom to pursue his passion.

The poem begins with Wheatley's admiration for Moorhead's paintings. She describes his works as "bright as the sun" and "fair as the moon." Wheatley's use of imagery is powerful, as she compares Moorhead's paintings to natural elements that are universally admired. The sun and the moon are symbols of beauty and perfection, and Wheatley's comparison suggests that Moorhead's paintings are just as beautiful and perfect.

Wheatley's admiration for Moorhead's paintings is not just based on their aesthetic value, but also on their cultural significance. She recognizes that Moorhead's paintings are a testament to the artistic talent of African Americans, who were often denied the opportunity to express themselves through art. Wheatley writes:

"Thy works, the greatest boon of art, I prize, For sure the Muses must with truth confess, Their fav'rite Scipio shall the pencil press, And PHOEBUS' self yield to superior dyes."

Wheatley's use of the word "boon" is significant, as it suggests that Moorhead's paintings are a gift to the world. She also acknowledges the role of the Muses, the goddesses of art and inspiration, in Moorhead's success. Wheatley's reference to Phoebus, the god of poetry and music, is also significant, as it suggests that Moorhead's paintings are just as powerful as poetry and music.

Wheatley's admiration for Moorhead's paintings is also a celebration of African American culture. She recognizes that Moorhead's paintings are a reflection of his African heritage, and that they represent a unique perspective that is often overlooked in the art world. Wheatley writes:

"Yet not to African shores alone confined The flames of genius in thy bosom glow, Confin'd to no one clime, but free to roam, Alike thy genius and thy pencil roam."

Wheatley's use of the word "genius" is significant, as it suggests that Moorhead's talent is innate and cannot be confined to any one place. She also acknowledges that Moorhead's paintings are not limited to African themes, but are free to explore a variety of subjects. This is a powerful statement, as it challenges the notion that African American art is limited to a narrow range of themes and styles.

Wheatley's admiration for Moorhead's paintings is also a celebration of his humanity. She recognizes that Moorhead is more than just a painter, but a person with hopes, dreams, and emotions. Wheatley writes:

"Thy mind, capacious as thy heart is good, In every art, in every science skill'd, And thy free soul, which stamps thy gen'rous blood, Impels thy hand, while thy great heart is fill'd."

Wheatley's use of the word "capacious" is significant, as it suggests that Moorhead's mind is open to new ideas and experiences. She also acknowledges that Moorhead is skilled in a variety of disciplines, which suggests that he is a well-rounded individual. Wheatley's reference to Moorhead's "free soul" is also significant, as it suggests that he is not defined by his status as a slave, but by his inner spirit.

Wheatley's admiration for Moorhead's paintings is also a call to action. She recognizes that Moorhead's talent is a symbol of hope for African Americans, who were struggling for freedom and equality in the 18th century. Wheatley writes:

"Proceed, great youth, and virtue guard thy heart, And let no thoughtless word, no foolish deed, Betray that freedom which the Muses gave, When first they made thee of their pow'rful breed."

Wheatley's use of the word "proceed" is significant, as it suggests that Moorhead's talent is not just a gift, but a responsibility. She also acknowledges that Moorhead's freedom is not just a physical state, but a state of mind. Wheatley's reference to the Muses is also significant, as it suggests that Moorhead's talent is a divine gift that must be used for the greater good.

In conclusion, To S.M., A Young African Painter, On Seeing His Works is a masterpiece of African American literature that celebrates the artistic talent of Scipio Moorhead. Wheatley's admiration for Moorhead's paintings is not just based on their aesthetic value, but also on their cultural significance. She recognizes that Moorhead's paintings are a testament to the artistic talent of African Americans, a celebration of African American culture, and a symbol of hope for African Americans who were struggling for freedom and equality. Wheatley's poem is a powerful statement that challenges the notion that African American art is limited to a narrow range of themes and styles, and celebrates the humanity and creativity of African Americans.

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