Classic and Contemporary Poetry: Explained

In "Moral Majority," Allen Ginsberg takes aim at prominent figures of the religious right, namely Mr. Viguerie, Mr. Falwell, Robertson, and Swaggert. Ginsberg's critique revolves around their perceived ignorance and intolerance, particularly towards homosexuality, and their broader moralistic and political stance. Through a blend of direct address, historical allusions, and personal reflections, Ginsberg exposes what he sees as the hypocrisy and narrow-mindedness of these leaders, contrasting their attitudes with a more inclusive, compassionate vision of spirituality.

Ginsberg begins by labeling these figures as possessing something "evil" or, more accurately, as exhibiting "ignorance of the delights of the Boy." This phrase encapsulates their lack of understanding and acceptance of homosexuality, a central theme in Ginsberg's own life and work. The "Boy" symbolizes innocence and natural human desires, which these figures are accused of suppressing or demonizing.

He then evokes a sense of historical continuity by referencing the 1920s, a time when rigid sexual mores and repressive measures like corsets, chastity belts, and even public burnings of supposed witches or heretics were more prevalent. By linking these modern figures to past purveyors of such repressive ideologies, Ginsberg suggests that their morality is outdated and harmful.

The poem’s tone shifts as Ginsberg declares his own spiritual experience, claiming to have seen God "as much as any." Here, he challenges the exclusivity of their religious claims, asserting that God's image is as diverse as humanity itself, including "all the homosexuals on earth." This inclusivity extends to various global and historical contexts, emphasizing that spirituality transcends narrow definitions and boundaries.

Ginsberg’s portrayal of God encompasses a wide range of identities, including those marginalized or condemned by the figures he critiques. He describes God as a "lavender fairy" and as encompassing diverse sexualities and identities, such as "male dogs coupling in the Alabama parking-lot." This imagery serves to normalize and celebrate the natural diversity of human and animal behaviors, countering the demonization propagated by the Moral Majority.

The poet does not dismiss the value of traditional family structures ("Nothing wrong with Family, Mother Father & Buba. / Nothing wrong with the Babe.") but criticizes the manner in which these religious leaders exploit such values for political gain. Specifically, he points to Falwell's "little mean streak" and his tendency to "talk too big for his britches," painting him as an inexperienced Bible salesman who misinterprets scripture for personal ambition.

Ginsberg concludes with a call for genuine spiritual enlightenment, invoking the figure of Buddha and the "great silence" of deep meditation. He contrasts this ideal state of inner peace and wisdom with the divisive rhetoric of the Moral Majority. The final lines envision a return from spiritual awakening, not with self-righteousness or a focus on material wealth ("not money, honey"), but with joy, generosity, and true understanding.

In "Moral Majority," Ginsberg employs a mixture of direct critique, historical context, and personal spirituality to dismantle the moralistic stance of prominent religious figures. By advocating for a broader, more inclusive understanding of God and spirituality, he challenges the intolerance and hypocrisy he perceives in the Moral Majority, urging a return to genuine compassion and enlightenment.

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