Classic and Contemporary Poetry: Explained

Linda Pastan's poem "On the Steps of the Jefferson Memorial" is a contemplative exploration of the human tendency to deify historical figures and the inherent contradictions within that practice. Through a juxtaposition of the Greek gods with the figure of Thomas Jefferson, Pastan reflects on the ways in which we construct and revere our heroes, acknowledging their greatness while also confronting their flaws.

The poem begins with a general statement about the nature of deification: "We invent our gods / the way the Greeks did, / in our own image—but magnified." This opening line sets the stage for the poem's exploration of how humans create gods and idols that reflect their own traits, but on a grander scale. The gods of Greek mythology are known for embodying both the virtues and the vices of humanity, and Pastan suggests that modern society does something similar with its historical figures and leaders, elevating them to near-divine status while often overlooking or downplaying their imperfections.

Pastan then delves into the mythological imagery, describing Athena and Poseidon, two powerful Greek deities who, despite their wisdom and authority, "squabbled...like any human sibling / until their furious tempers / made the sea writhe." This portrayal of the gods as petty and quarrelsome underscores their human-like qualities, reminding us that even beings of immense power are not immune to the weaknesses that define human nature. The image of the sea writhing as a result of their anger highlights the destructive potential of these divine tempers, further emphasizing the darker aspects of the gods' characters.

Zeus, the king of the gods, is depicted with a crown of lightning bolts "one minute" and "a cloak of feathers the next," illustrating his capriciousness and the fluidity of his identity. His transformation into a bird to seduce Leda is a well-known myth, and Pastan uses this story to point out the baser, more earthly desires that even the most powerful gods succumb to. The mention of Zeus's "earthly lust" serves as a reminder that, despite their divinity, the gods are driven by the same impulses as mortals.

The poem then shifts focus to the concept of frailty, which "ran through them / like the darker veins / in the marble of these temples / we call monuments." This simile connects the flaws of the gods with the imperfections in the marble used to construct monuments, suggesting that the very structures we build to honor greatness are inherently flawed, just as the figures they commemorate are. The "darker veins" in the marble symbolize the imperfections and moral complexities that run through even the most revered individuals, hinting at the idea that no one is entirely pure or faultless.

The final lines of the poem bring the focus back to Thomas Jefferson, one of America's Founding Fathers and the primary author of the Declaration of Independence. As the speaker looks at the statue of Jefferson, they reflect on "the language / he left for us to live by," acknowledging the enduring impact of his words and ideals. Jefferson's writings, particularly those advocating for liberty and equality, have shaped American society and continue to inspire generations.

However, the poem does not end on a note of unqualified admiration. Instead, Pastan introduces a critical reminder of the contradictions embodied by Jefferson: "I think of the slave / in the kitchen downstairs." This reference to Jefferson's ownership of slaves highlights the stark contrast between his lofty ideals and his personal practices. The juxtaposition of Jefferson's influential language with the reality of slavery underscores the complexity of his legacy, forcing the reader to grapple with the dissonance between his public persona as a champion of freedom and the private reality of his participation in the institution of slavery.

"On the Steps of the Jefferson Memorial" is a meditation on the ways in which we elevate and remember historical figures, often overlooking or rationalizing their flaws in the process. By drawing parallels between the Greek gods and American icons like Jefferson, Pastan invites readers to consider the full scope of these individuals' legacies, acknowledging both their contributions and their contradictions. The poem ultimately challenges us to confront the uncomfortable truths that lie beneath the surface of our monuments and to recognize the complexity of the figures we choose to idolize.

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