Classic and Contemporary Poetry: Explained

Anne Sexton's "February 17th" is a darkly whimsical poem that plays with the absurd and the surreal to explore themes of uncertainty, fear, and the fragile nature of life and relationships. Through a series of fantastical images and cynical observations, Sexton reveals a deep-seated anxiety about the unpredictability of the world and the inevitability of death. The poem's tone, which oscillates between playful and ominous, underscores the tension between the desire for stability and the recognition of life's inherent instability.

The poem opens with the admonition, "Take nothing for granted. / Yes, I know." This line sets the tone for the rest of the poem, where the speaker acknowledges the wisdom of not assuming anything is certain, yet seems resigned to the absurdities and unpredictabilities of life. The repetition of "Yes, I know" throughout the poem adds a sense of weary acceptance, as if the speaker has become all too familiar with the idea that anything can happen and that expectations are often subverted.

The poem then launches into a series of surreal and exaggerated scenarios: "Wallace will be declared king. / For his queen, Shirley Temple Black." This pairing of Wallace, presumably Wallace Simpson's partner Edward VIII, with Shirley Temple, the child star who later became a diplomat, is both bizarre and comical, highlighting the randomness of fate and the strangeness of the world. The absurdity continues with images such as "The moon will wear garters" and "The goldfish will wear a wedding ring," each scenario becoming more fantastical and improbable. These images serve to emphasize the unpredictability of life, where the most unlikely things can happen, and where the normal order of things can be easily upended.

The speaker then introduces the idea that even animals and inanimate objects are caught up in this absurd world: "The chipmunks will subscribe / to the Old Farmer's Almanac." This humorous image of chipmunks, typically seen as simple creatures, engaging in human activities like reading an almanac further underscores the topsy-turvy nature of the world the speaker inhabits. The phrase "That's just for starters" suggests that these absurdities are only the beginning, preparing the reader for even more outrageous possibilities.

As the poem progresses, the scenarios become darker and more sinister. "Next Queen Elizabeth will take a bribe. / Next the Atlantic will turn to solid ice." These lines suggest a world where even the most stable and revered institutions can be corrupted or dramatically altered. The idea that "the doctors will hand out cancer with their advice" is particularly chilling, turning the trusted figures of healthcare into agents of harm, further heightening the sense of a world where nothing can be relied upon.

The poem reaches its climax with the admission, "Death sits with his key in my lock. / Not one day is taken for granted." Here, the speaker acknowledges the ever-present reality of death, symbolized by the image of Death holding a key to the speaker's home or life. This metaphor suggests that death is not only inevitable but is also intimately close, a constant possibility that could unlock the door at any moment. The realization that "not one day is taken for granted" speaks to the speaker's awareness of the fragility of life and the importance of appreciating each day, even as it is overshadowed by the threat of mortality.

The poem concludes with a return to the theme of childhood innocence and security, but with a dark twist: "Even nursery rhymes have put me in hock. / If I die before I wake." The reference to nursery rhymes, typically associated with comfort and simplicity, is subverted by the phrase "put me in hock," implying that even these innocent things have a cost or are tainted by the darker realities of life. The traditional bedtime prayer "If I die before I wake" is invoked, highlighting the ever-present fear of death, even in the most comforting of rituals.

The final lines of the poem, "My husband sings Baa Baa black sheep and we pretend / that all's certain and good, that the marriage won't end," capture the fragile and often performative nature of stability in relationships. The act of singing a nursery rhyme together becomes a way of holding onto a semblance of normalcy and certainty, even as both partners are aware of the underlying uncertainties and potential for loss. The use of "pretend" suggests that this sense of security is an illusion, a comforting lie they tell themselves to cope with the unpredictability of life and the possibility of their marriage ending.

"February 17th" is a powerful exploration of the absurdity and unpredictability of life, where even the most stable and comforting aspects of existence are subject to sudden and dramatic change. Through her use of surreal imagery and a tone that balances between humor and dread, Sexton captures the tension between the desire for certainty and the recognition that nothing in life is truly guaranteed. The poem ultimately reflects on the fragility of human relationships, the inevitability of death, and the ways in which we cope with these harsh realities by clinging to familiar rituals and comforting illusions.

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