Classic and Contemporary Poetry: Explained

"Maudlin; or, The Magdalen's Tears" by Linda Gregerson explores themes of faith, repentance, gender roles, and societal perceptions through the lens of the biblical figure Mary Magdalene. The poem weaves together religious imagery, historical references, and reflections on human nature, examining the complexities and contradictions in how women and their emotions are perceived and depicted.

The poem begins with a metaphor comparing faith to a tree that sorrow grows and women to swamps, suggesting that both are fertile grounds for emotional and spiritual struggles: "If faith is a tree that sorrow grows / and women, repentant or not, are swamps." This imagery sets the stage for exploring the burdens and expectations placed on women, especially those who seek solace or redemption.

Gregerson then introduces the idea of a man seeking solace in such a setting, only to find himself entangled and hindered: "a man who comes for solace here / will be up to his knees and slow / getting out." This line implies that engaging with women's sorrow and faith can be a complex and challenging endeavor, one that is not easily navigated or resolved.

The poem touches on the power of names and labels, suggesting that they can be arbitrary and burdensome: "A name can turn on anyone." This idea is particularly relevant to Mary Magdalene, whose identity and story have been shaped and reshaped by cultural and religious narratives.

Gregerson juxtaposes the image of a woman washing a stranger's feet—a gesture of humility and service—with the image of the same woman sitting dry-eyed before a mirror: "But say that a woman washes the dust / from a stranger’s feet / and sits quite dry-eyed in front / of her mirror at night." This contrast highlights the tension between public acts of repentance and private moments of introspection, suggesting that true emotion and transformation are often hidden from view.

The poem also explores the role of the artist, who uses the woman's candlelit image to showcase his skill: "The hand of the painter, who sees in the flame / his chance for virtuosity." The woman's bare shoulder, exposed for the sake of art, symbolizes vulnerability and the way women's bodies and emotions are often objectified for others' purposes.

Gregerson draws a parallel between Mary Magdalene and the institution of Bedlam, or St. Mary’s of Bethlehem, a notorious mental asylum: "Bedlam’s distilled from a Mary too, / St. Mary’s of Bethlehem, shelter / for all the afflicted and weak / of mind." This comparison underscores how women and those deemed "mad" are similarly marginalized and misunderstood.

The poem critiques the wealthy donors to such institutions, likening them to the magi who brought gifts to the infant Jesus: "The donors conceived of as magi / no doubt. The mad and the newborn / serve equally well for show." This critique highlights the performative nature of charity and the way the suffering of others is often used to bolster the benefactor's self-image.

Gregerson concludes with a reflection on irony and genuine emotion: "Who loves his ironies buxom and grave / must hate the foolish water of her eyes." This final line suggests a disdain for sincere emotion, particularly tears, in favor of more detached, intellectual responses. It underscores the poem's exploration of the difficulties and contradictions in how society views women's emotions and actions.

"Maudlin; or, The Magdalen's Tears" by Linda Gregerson masterfully intertwines religious and historical imagery with contemporary reflections, inviting readers to consider the complexities of faith, repentance, and societal perceptions of women. Through its rich language and layered metaphors, the poem challenges us to think deeply about the ways we interpret and respond to the emotions and experiences of others.

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