Classic and Contemporary Poetry: Explained

Anne Sexton’s poem "The Wonderful Musician" is a dark and enigmatic exploration of power, manipulation, and the perils of seeking companionship through control. Drawing from a blend of folklore and allegory, the poem tells the tale of a musician who uses his gift not to create harmony but to dominate and deceive the creatures of the forest. Sexton’s characteristic use of vivid, unsettling imagery and her ability to weave complex emotions into her narrative create a work that is both disturbing and thought-provoking.

The poem begins with a nostalgic call to the speaker's "sisters," urging them to remember "the fiddlers of your youth" and the electrifying, almost dangerous allure of music. The image of "dances so like a drunkard / lighting a fire in the belly" evokes a sense of reckless abandon, where music serves as both a catalyst for joy and a potential source of destruction. The "speech, as piercing as a loon's," suggests that music can cut through the mundane and reach deep into the human psyche, affecting both the powerful ("mayors") and the ordinary ("cab drivers") alike.

Sexton then shifts from this collective memory to a cautionary tale, introducing "the wonderful musician" who "goes quite alone through the forest / and plays his fiddle-me-roo / to bring forth a companion." This musician is not merely seeking company; he is searching for someone to dominate, as indicated by the subsequent encounters with the fox, the wolf, and the hare. Each animal, drawn by the seductive power of the music, is lured into a trap, reflecting the dangers of blindly following something that appears beautiful or alluring.

The fox, described as "a womanly sort," is the first to be ensnared. His desire to learn the musician’s craft leads him to be caught in an oak tree, "kneeling like Romeo." This image of entrapment contrasts with the romantic figure of Romeo, suggesting that the fox's pursuit of knowledge or power leads not to love or fulfillment but to subjugation and helplessness. The musician’s disdain for the fox, despite agreeing to teach him, reveals the manipulative nature of the musician, who uses his skill to control rather than to uplift.

Next, the wolf, "a greedy creature," is lured by the music and similarly trapped, this time "hung spread-eagle / on a miniature crucifix." The religious imagery of crucifixion adds a layer of irony and tragedy, as the wolf is punished not for his greed but for his trust in the musician’s promises. The hare, "a child of the dark," is the final victim, led into a frenzied dance that ends with him "foamed up / like a rabid dog." Each of these animals, representing different aspects of human nature—cunning, greed, and fear—falls prey to the musician’s deceptive charm.

The turning point in the poem comes when the fox, using his cleverness, frees himself and the others, and they seek revenge on the musician. This act of rebellion highlights the limits of the musician's power; although he can control others for a time, their collective strength and desire for freedom eventually overcome his domination. The description of the animals preparing to "tear off the musician's / ten wonderful fingers" symbolizes the destruction of the very source of his power—his ability to play the fiddle and manipulate others.

However, just as the animals are about to exact their revenge, a new character appears: a "poor woodcutter" who is drawn to the music and promises his life for it. The woodcutter, unlike the animals, is armed with an axe, a symbol of both creation and destruction. His intervention forces the animals to retreat, saving the musician from their wrath. The axe, "glinted like a steak knife," suggests the potential for violence, but also serves as a reminder of the woodcutter’s ability to carve out a different path, one that is not dominated by the musician’s will.

The poem concludes with a reflection on the nature of survival and the role of the musician's gift in saving him from destruction. Sexton draws a parallel between the musician and "little Eichmanns, / little mothers," invoking the notion that many who possess power or influence—whether through art, authority, or motherhood—survive not because of their moral superiority but because of their ability to wield that power effectively. The reference to "little Eichmanns" is particularly chilling, alluding to the banality of evil and the idea that ordinary people can commit or enable great wrongs when they are driven by a sense of duty or the desire for self-preservation.

In "The Wonderful Musician," Anne Sexton offers a complex meditation on the dual nature of talent and power. The musician, while seemingly gifted and capable of creating beauty, ultimately uses his skills to deceive and dominate others. The poem serves as a cautionary tale about the dangers of following seductive but potentially harmful influences, and the inevitable backlash that comes when those who are oppressed rise up against their oppressors. Through her use of dark, evocative imagery and rich allegory, Sexton explores the ethical ambiguities of power, the vulnerability of those who seek it, and the consequences of using one’s gifts for selfish or destructive ends.

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