Classic and Contemporary Poetry: Explained

Muriel Rukeyser's "More of a Corpse than a Woman" is a penetrating critique of the superficiality and emptiness that can plague the lives of women constrained by societal expectations. The poem unfolds through a series of poignant reflections and vivid imagery, highlighting the dissonance between the outward appearances of these women and their inner realities.

The poem begins with an invocation to remember and address the women of the speaker’s past during significant social gatherings like a school reunion or a marriage supper. The speaker requests that her regards be passed on, subtly indicating her physical absence but spiritual presence. This sets a tone of disconnection and longing.

"They’ll remember my name; I went to the movies with that one, / feeling the weight of their death where she sat at my elbow;" these lines evoke a sense of foreboding and existential burden. The presence of death is metaphorical, referring to the lifeless, hollow existence of the women who were once her companions. The phrase "she never said a word, / but all of them were heard" underscores the silent suffering and the unspoken conformity that permeates their lives.

Rukeyser describes these women as "expensive girls, the leaden friends," whose lives, despite their privileges and education, lack true passion and purpose. Each woman has a semblance of individuality—a pianist, a poet, a photographer—but these identities are superficial and do not fulfill their deeper needs. Their "technical passions" are contrasted with "pure love," which they treat as an "employment" or pastime rather than a profound experience. This critique is sharpened by the use of "leaden," suggesting heaviness, dullness, and lifelessness.

The poem then shifts to a scene where these women return with "souvenirs of boredom," symbolizing their empty pursuits. These trinkets—a seashell from a monarchy, a saint’s nose, and an empty shell from a battlefield—represent their detachment from genuine human experiences and struggles. The "lady’s wealthy breath / perfumes the air with death" suggests that their material wealth masks a deeper spiritual and emotional void.

Rukeyser contrasts "the leaden lady" with "the fine, voluptuous woman," who embodies a "rising world bearing its gifts." This woman is dynamic and alive, capable of genuine love and engagement with the world. The speaker observes how this woman moves away, continually seeking and experiencing life, unlike the "leaden" women who remain stuck in their inadequacy. The phrase "Inadequate to love, / supposes she’s enough" highlights the self-deception and complacency of those who fail to grasp the essence of life and love.

The poem concludes with a direct address to "the well-protected woman," emphasizing that despite their shared history ("we went to school together"), there is a profound difference in their life choices and experiences. The speaker calls for a destruction of the "leaden heart," a metaphor for the stagnation and emotional deadness that must be overcome. The final line, "we’ve a new race to start," is a powerful call to action, urging a transformation towards a more authentic, passionate, and meaningful existence.

Rukeyser’s poem is a stirring reflection on the societal roles and expectations that confine women, advocating for a break from these constraints to embrace a life of genuine passion and purpose. The imagery of death, leadenness, and superficiality starkly contrasts with the vibrant, dynamic potential that lies within, waiting to be realized. Through this poem, Rukeyser encourages a reawakening and a reclamation of true identity and love.