Classic and Contemporary Poetry: Explained

Anne Sexton’s poem "Wallflower" is a poignant exploration of isolation, self-awareness, and the passage of time. Through the metaphor of a theatrical performance, Sexton reflects on the feelings of being an outsider, observing life from the periphery while others take center stage. The poem captures the melancholy and resignation of someone who feels disconnected from the vibrancy of life, yet is deeply aware of their own position and history.

The poem begins with an invitation: "Come friend, / I have an old story to tell you — / Listen." The speaker immediately establishes a sense of intimacy, inviting the reader to sit down and share in a personal, almost confessional moment. The use of "old story" suggests that what follows is not just a recounting of events, but a reflection on something deeply ingrained in the speaker’s identity. The plea to "listen" emphasizes the importance of this sharing, as if the speaker needs to be heard and understood, perhaps for the first time.

The imagery of the speaker’s "face red with sorrow" and "breasts... made of straw" conveys a sense of vulnerability and emotional depletion. The redness of the face suggests shame or embarrassment, while the breasts of straw evoke fragility and a sense of hollowness, as if the speaker’s nurturing, feminine essence has been drained or rendered ineffective. These lines set a tone of deep sadness and self-reflection, where the speaker acknowledges their own limitations and the pain they carry.

The setting of the poem is a "polished stage," where the speaker sits "in the ladder-back chair / in a corner." This image places the speaker on the outskirts of the action, not as a participant but as an observer. The polished stage suggests a space that is well-maintained, perhaps even beautiful, yet the speaker remains on the sidelines, marginalized and detached from the main performance. The ladder-back chair, a simple and sturdy piece of furniture, contrasts with the grandeur of the stage, further emphasizing the speaker’s humble, overlooked presence.

The speaker mentions having "forgiven all the old actors for dying," indicating a passage of time and the inevitability of change. The "new one" who comes onstage with "the same lines, / like large white growths, in his mouth" suggests a sense of repetition and stagnation, as if life’s dramas and roles are endlessly recycled with little variation. The "large white growths" evoke a sense of unnaturalness or decay, as if the new actors are burdened by the weight of their predecessors’ words and actions, unable to bring anything fresh or genuine to the performance.

The dancers who "come on from the wings, / perfectly mated" represent the idealized, harmonious aspects of life that the speaker feels excluded from. These dancers are a symbol of beauty, grace, and connection, moving in perfect unison while the speaker remains stationary and isolated. The "pearly" ceiling above them suggests an ethereal, otherworldly quality, as if the dancers exist in a realm of perfection that the speaker can only observe from below.

As the action unfolds onstage, the speaker describes the bride who "falls in satin to the floor" and the "tall hero in a red wool robe" who "stirs the fire with his ivory cane." These figures are archetypal, embodying traditional roles of femininity and masculinity, yet their actions seem detached and ritualistic, lacking true passion or vitality. The bride’s fall and the hero’s stirring of the fire suggest a performance of roles rather than genuine emotion, reinforcing the theme of life as a series of repetitive, hollow acts.

The string quartet that "plays for itself" adds to the atmosphere of isolation and introspection. The music is inward-looking, self-contained, and not meant to engage or move an audience. The image of "sleeves and waxy bows" further emphasizes the artificiality and detachment of the scene, as if everything is meticulously arranged yet devoid of real feeling.

In contrast to the dancers’ fluid movements, the speaker describes their own "little stiff legs" and a back "as straight as a book," highlighting the rigidity and constraint they feel in their own body. The speaker’s self-awareness is acute, as they recognize their physical and emotional limitations. The imagery of "the little feverish roses, the islands of olives and radishes, / the blissful pastimes of the parlor" evokes a sense of nostalgia, as if the speaker is recalling a past filled with simple pleasures and beauty, yet these images are tinged with a sense of distance and loss. The speaker admits, "I'll never know / how I came to this place," suggesting a profound disconnection from the life they once lived or imagined for themselves.

In "Wallflower," Anne Sexton masterfully conveys the experience of feeling like an outsider, both in one’s own life and in the larger world. The poem’s theatrical setting serves as a powerful metaphor for the roles people play and the performances they put on, while the speaker’s position on the sidelines reflects a deep sense of alienation and introspection. Through rich imagery and a confessional tone, Sexton explores the pain of being a wallflower—observing life’s dramas unfold but never fully participating in them—and the inevitable passage of time that leaves the speaker with a lingering sense of sorrow and unanswered questions.

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