Lazarus, Emma: Metaphors to Muse Upon

Lazarus, Emma: Metaphors to Muse Upon

Emma Lazarus was a nineteenth century Jewish American poet, and the double whammy of being a woman and a Jew informed her work greatly. She uses metaphor often to convey subtly what she’s drivng at. Here’s a poem by her using this technique.

Chopin by Emma Lazarus

I

A dream of interlinking hands, of feet
Tireless to spin the unseen, fairy woof
Of the entangling waltz. Bright eyebeams meet,
Gay laughter echoes from the vaulted roof.
Warm perfumes rise; the soft unflickering glow
Of branching lights sets off the changeful charms
Of glancing gems, rich stuffs, the dazzling snow
Of necks unkerchieft, and bare, clinging arms.
Hark to the music! How beneath the strain
Of reckless revelry, vibrates and sobs
One fundamental chord of constant pain,
The pulse-beat of the poet’s heart that throbs.
So yearns, though all the dancing waves rejoice,
The troubled sea’s disconsolate, deep voice.


II

Who shall proclaim the golden fable false
Of Orpheus’ miracles? This subtle strain
Above our prose-world’s sordid loss and gain
Lightly uplifts us. With the rhythmic waltz,
The lyric prelude, the nocturnal song
Of love and languor, varied visions rise,
That melt and blend to our enchanted eyes.
The Polish poet who sleeps silenced long,
The seraph-souled musician, breathes again
Eternal eloquence, immortal pain.
Revived the exalted face we know so well,
The illuminated eyes, the fragile frame,
Slowly consuming with its inward flame,
We stir not, speak not, lest we break the spell.


III

A voice was needed, sweet and true and fine
As the sad spirit of the evening breeze,
Throbbing with human passion, yet devine
As the wild bird’s untutored melodies.
A voice for him ‘neath twilight heavens dim,
Who mourneth for his dead, while round him fall
The wan and noiseless leaves. A voice for him
Who sees the first green sprout, who hears the call
Of the first robin on the first spring day.
A voice for all whom Fate hath set apart,
Who, still misprized, must perish by the way,
Longing with love, for that they lack the art
Of their own soul’s expression. For all these
Sing the unspoken hope, the vague, sad reveries.


IV

Then Nature shaped a poet’s heart–a lyre
From out whose chords the lightest breeze that blows
Drew trembling music, wakening sweet desire.
How shall she cherish him? Behold! she throws
This precious, fragile treasure in the whirl
Of seething passions; he is scourged and stung,
Must dive in storm-vext seas, if but one pearl
Of art or beauty therefrom may be wrung.
No pure-browed pensive nymph his Muse shall be,
An amazon of thought with sovereign eyes,
Whose kiss was poison, man-brained, worldy-wise,
Inspired that elfin, delicate harmony.
Rich gain for us! But with him is it well?
The poet who must sound earth, heaven, and hell!

I like these lines, which juxtapose the good and the bad in nature, and parallel them with the poet.

“How beneath the strain
Of reckless revelry, vibrates and sobs
One fundamental chord of constant pain,
The pulse-beat of the poet’s heart that throbs.
So yearns, though all the dancing waves rejoice,
The troubled sea’s disconsolate, deep voice.”

I also like the thought of the poet as a spokesperson for the mute beauties of nature. She circles back to the thought she introduced earlier, when she talks about the pressure on the poet to live up to this mandate, and wonders whether anyone thinks about that.

This post is a part of #BlogchatterA2Z 2023.