Classic and Contemporary Poetry: Explained

"Mary Stuart" by Robert Lowell is a dramatic narrative that seems to blend elements of modern crime with historical allusions, specifically referencing the life of Mary, Queen of Scots. The poem juxtaposes contemporary images with the themes of power, betrayal, and violence, drawing a parallel between the historical figure and a fictionalized modern couple.

The poem opens with an intense scene: "They ran for their lives up nightslope, gained the car," suggesting an escape under dire circumstances. The "girl's maxi-coat, Tsar officer's," dragging through the snow, creates a vivid image of a dramatic flight. The reference to "Tsar officer's" evokes a sense of historical grandeur and fall, while the description "she and he killed her husband, they stained the snow" directly alludes to murder, setting a dark tone.

"Romance of the snowflakes!" introduces a contrast between the beauty of the snow and the violence staining it, perhaps hinting at the romanticized notion of tragic love intertwined with crime. The mention of "Men swam up the night, grass pike in overalls with scythe and pitchfork" portrays an angry mob armed with makeshift weapons, suggesting a pursuit by common people seeking justice or revenge.

The mob's threat, "Take the car, we'll smash the girl," conveys a chaotic and menacing atmosphere, further intensified by the statement, "Once kings were on firstname terms with the poor, a car was a castle, and money belonged to the rich." This line contrasts the historical context of royalty mingling with commoners with the modern symbol of wealth and privilege—the car. It highlights a social divide and the perception of wealth and power as protective barriers.

As the couple attempts to flee, they "roared off hell-wheel and scattered the weak mob," indicating their successful but reckless escape. The disturbing image of "one man splashed the windshield" suggests a violent encounter, with the car symbolizing both a means of escape and a weapon. The couple's inability to "pluck him" from the windshield, compounded by the difficulty of navigating "the road with a carcass on the windshield," intensifies the nightmarish scenario, evoking a sense of inescapable guilt and horror.

The poem concludes with a transition from the chaotic escape to a more intimate and eerie setting: "at nightmare's end, the bedroom, dark night of marriage." This line shifts the focus to a private space, hinting at the ultimate isolation and complicity of the couple. The phrase "the bloodiest hands were joined and took no blood" suggests a paradoxical union in guilt and innocence. It reflects a disturbing unity in their crime and the surreal nature of their bond, where despite their actions, they remain untouched or unpunished by their conscience or society.

"Mary Stuart" by Robert Lowell intertwines historical and contemporary elements to explore themes of crime, power, and the complexities of human relationships. The poem's stark imagery and shifting narrative perspectives create a haunting portrayal of a couple bound together by their transgressions, drawing subtle parallels with the tragic life of Mary, Queen of Scots, whose own life was marked by political intrigue, imprisonment, and execution. Through this modern allegory, Lowell comments on the enduring nature of violence, guilt, and the elusive search for redemption or escape.

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