Classic and Contemporary Poetry: Explained

"In Excelsis" by Anne Sexton captures a moment of raw confrontation between the self and the elemental force of the ocean, a meeting that is both physical and metaphysical. The poem explores the complex interplay of fear, reverence, and a deep, almost primal longing to merge with something greater than oneself. The ocean, in its ferocity and grandeur, becomes a powerful symbol of both destruction and nurturing, a force that the speaker, in her vulnerability, finds simultaneously terrifying and alluring.

The poem begins by situating us in a transitional time—"half winter, half spring"—a moment suspended between the dormancy of winter and the awakening of spring. This in-between state mirrors the speaker’s own ambivalence and the uncertain emotional territory she occupies. She stands with Barbara, another figure whose presence suggests a shared, though possibly divergent, experience of confronting the ocean.

Sexton’s depiction of the ocean is strikingly vivid: "Its mouth is open very wide, and it has dug up its green, / throwing it, throwing it at the shore." The ocean is not just a passive body of water but a living, breathing entity, animated by rage or pain—"like a kicked Madonna." The image of the "kicked Madonna" evokes a sense of violated sanctity, a sacredness that has been wounded. The ocean’s "womb collapses, drunk with its fever," presenting it as a maternal figure, but one that is overwhelmed by its own tumultuous emotions.

The speaker identifies herself as "the inlander," someone who is unfamiliar or disconnected from the sea. This disconnection contributes to her fear—she is "almost afraid"—yet she is drawn to the ocean, to its mysterious and overwhelming power. She acknowledges her past encounters with the sea, times when she saw it in different moods—"smooth as a cheek," "easy," "lapping in," or "tearing the land off." These varied experiences of the ocean reveal its unpredictability and its capacity to shift from calm to violence, from nurturing to destructive.

The speaker’s fear and awe culminate in a silent vow, a moment of worship where the ocean's "tongues of the surf are prayers." This vow is unspoken, its content left to the reader’s imagination, but it is clearly significant, marking a deep, personal engagement with the ocean’s power. The speaker longs to "enter her like a dream," to surrender herself to the ocean’s embrace, leaving behind her past—"like a pan of knives"—a potent metaphor for the pain and sharp memories she carries.

This desire to merge with the ocean is not just about escape, but about a return to a primordial state, to "the great mother arms / I never had." The ocean becomes a surrogate for maternal love and protection, a place where the speaker can dissolve into something larger and more eternal. The imagery of the ocean "exploding" over her and "swallowing the stars" reinforces this sense of the sea as an all-encompassing force, one that transcends individual existence and ties the speaker to the cosmic order.

The poem closes on a note of acceptance and surrender, acknowledging the ocean's enduring power—"since it all began / and will continue into oblivion, / past our knowing." The speaker recognizes her place in the vastness of time and nature, her smallness against the backdrop of the ocean’s eternal pulse. This realization is both humbling and liberating, allowing her to momentarily become part of something that extends far beyond her individual life.

"In Excelsis" is a meditation on the dual nature of the ocean as both a terrifying and comforting force, and through it, Sexton explores themes of fear, reverence, and the longing for dissolution and rebirth. The poem’s rich imagery and emotional depth invite readers to consider their own relationship with the natural world, with their past, and with the unknowable forces that shape their lives.

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