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Classic and Contemporary Poetry: Explained | |||
"Assassination Raga" by Lawrence Ferlinghetti is a vivid and haunting exploration of death, violence, and the cultural undercurrents of an assassination. The poem reflects on the assassination of President John F. Kennedy and its aftermath, blending cultural references, religious imagery, and musical motifs to create a tapestry that is both mournful and enraged. Ferlinghetti opens with a juxtaposition: "Turn in to a raga / on the stereo / and turn on Death TV / without its sounds." The raga, a traditional Indian musical form, contrasts sharply with the silent broadcast of "Death TV," a term used to describe the incessant media coverage of assassination. The absence of sound on the TV highlights the disconnection and desensitization of the audience, while the raga playing in the background provides an emotional soundtrack, representing the deep, spiritual grief and rage felt. "Outside the plums are growing in a tree / 'The force that through the green fuse / drives the flower' / drives Death TV." Here, Ferlinghetti incorporates lines from Dylan Thomas's poem "The Force That Through the Green Fuse Drives the Flower," emphasizing the natural and relentless forces driving both life and death. The juxtaposition of the serene image of plums growing and the grim media coverage shows how nature and violence coexist. "They lower the body soundlessly / into a huge plane in Dallas / into a huge plane in Los Angeles / marked 'United States of America.'" Ferlinghetti captures the solemn and surreal atmosphere as the slain president's body is loaded onto a plane for transportation. The repetition of "United States of America" underscores the symbolic weight of the event, as the plane "takes off / & wings away with that Body." The poem's rhythm accelerates as Ferlinghetti switches between the imagery of the assassination and the raga: "a sitar speaking on the stereo / a raga in rage / at all that black death / and all that bad karma." The sitar, traditionally associated with spiritual enlightenment, becomes a symbol of rage against death and injustice. "La illaha el lill Allah / There is no god but God." This Islamic phrase, woven throughout the poem, is transformed by Ferlinghetti to "There is no god but Death." The stark transformation emphasizes the despair and fatalism that often follow acts of violence. "The force that through the red fuze / drives the bullet / drives the needle in its dharma groove." The "red fuze" represents the ignition of violence, while the "dharma groove" is a metaphor for life's path or fate. Ferlinghetti suggests that the same force that drives life can also drive death. "Inside the plane a wife / lies soundlessly / against the coffin." This image evokes the mournful presence of Jacqueline Kennedy, lying beside her husband's coffin, emphasizing the personal grief amid national tragedy. As the poem continues, Ferlinghetti describes the procession: "And they are driving the Body / they are driving the Body / up Fifth Avenue / past a million people in line." The ritualistic movement of the cortege through New York City is juxtaposed with media commentary: "'We are going to be here a long time' / says Death TV's spielman." Ferlinghetti weaves in musical motifs, such as "A highschool band in New Brunswick plays / The Battle Hymn of the Republic," to emphasize the national mourning and the symbolic use of patriotic songs. The "armed helicopter over it" and the "funeral train" further underline the heightened security and national urgency of the event. "They have shot it down again / They have shot him down again." This refrain emphasizes the cyclical nature of violence and its recurring impact on society. The poem closes with a sense of defiance and hope: "People with roses / behind the barricades!" Despite the barricades, the roses represent a desire for peace and nonviolence. Overall, "Assassination Raga" is a powerful lamentation and critique of the cultural and spiritual state of America in the aftermath of an assassination. Ferlinghetti blends Eastern and Western motifs, religious imagery, and musical references to create a rich, multilayered exploration of death, violence, and hope in the face of despair.
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