Classic and Contemporary Poetry: Explained

Cleopatra Mathis's poem "Return" transforms the myth of Persephone into an allegory for personal growth, agency, and the complex dynamics of relationships. Mathis’s work draws on the tension between possession and autonomy, portraying Persephone’s return not merely as a seasonal event but as a profound transformation of identity and self-determination.

At its core, the poem employs mythological symbolism to explore themes of loss, change, and reconciliation. The "brother" who "swallows up" and the "kingdom of rocks" are unmistakable references to Hades and the underworld. Hades is framed not as a villain but as a possessive figure who treasures Persephone as his “one uncut jewel.” This language elevates Persephone’s worth, yet simultaneously reduces her to an object of desire. This paradox mirrors how relationships can simultaneously uplift and confine, illuminating the complexity of their power dynamics.

Persephone’s consumption of the "earth's seeds" alludes to the mythological pomegranate seeds that bind her to the underworld. Here, however, Mathis reinterprets this act as a pivotal moment of agency. By consuming the seeds, Persephone takes a deliberate action, becoming an active participant in her fate rather than a passive victim. This shifts the power balance, making her return to the surface a choice rather than a rescue or release. Mathis’s language—“She’s carved a self now—not for you or me”—cements Persephone’s transformation. She emerges not as a possession of Hades or her mother Demeter, but as an autonomous figure whose identity transcends the binaries of light and dark, life and death, submission and freedom.

The poem also critiques traditional interpretations of the myth by emphasizing the limits of possession. Hades must “give her up,” and Demeter, too, must reconcile with the reality that Persephone will never return unchanged. The relationship between the two deities becomes emblematic of broader human struggles with acceptance and the inevitability of change. Persephone’s return is described as a "bargain she’s bound to keep," highlighting the transactional nature of relationships and the compromises inherent in shared connections. Yet, the phrase “we’ll both have her” underscores that neither party possesses her fully. Her autonomy is retained, even as she navigates the demands of others.

Mathis’s language is meticulous and resonant, balancing mythical grandeur with emotional intimacy. The imagery of Persephone “gleaming in the light” and “rowing herself out” evokes strength, independence, and determination. The act of rowing—an active, self-propelled motion—becomes a metaphor for her agency. She is no longer the abducted maiden but a woman steering her course, asserting control over her narrative.

The structure of the poem reflects its thematic duality. The compact form and clipped phrases mirror the tight constraints of the myth, while the language evokes expansiveness and possibility. The interplay between confinement and liberation parallels Persephone’s journey, encapsulating her oscillation between two worlds and identities.

Mathis’s reinterpretation of the Persephone myth challenges traditional readings by shifting focus from the external forces of abduction and control to the internal journey of self-definition. In doing so, the poem aligns itself with contemporary discussions about identity, agency, and autonomy. Persephone’s narrative becomes a reflection of universal human experiences—of negotiating power, embracing change, and forging individuality within the confines of relational expectations.

"Return" transcends its mythological roots to offer a meditation on resilience and self-reclamation. Persephone’s journey back to the surface, altered and self-determined, serves as a powerful metaphor for the transformative potential of hardship. Mathis reminds us that true agency lies not in denying the influence of others but in carving out a self that exists beyond their grasp—a self that gleams in its own light, moving forward, irrevocably whole.

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