Classic and Contemporary Poetry: Explained

In "Twelfth Night" by Elinor Wylie, the poem weaves together a series of disjointed, almost paranoid reflections on authority, power, and fear. The speaker’s tone is one of suspicion and caution, particularly regarding figures of power such as King Herod, soldiers, and rulers. The poem evokes a sense of anxiety and distrust, while at the same time offering a critique of the abuse of power and the violence associated with figures of authority. Wylie blends biblical imagery, references to mythological figures, and a vivid portrayal of the political landscape to create an atmosphere of tension and foreboding.

The poem begins with the speaker’s longstanding fear of King Herod and his kinsmen, establishing an immediate sense of unease. The reference to Herod, known from biblical accounts as a ruler who ordered the Massacre of the Innocents, sets a dark tone for the poem. Herod represents tyranny, fear, and violence, and the speaker's mention of him immediately positions these qualities as central themes in the poem. The speaker is wary not only of Herod but also of those in his company, identifying them by their appearance—“I do not like the colour of your beard”—which adds an element of superficial judgment and distrust based on external features. This suspicion of authority figures is reinforced by the repeated assertion of the speaker’s disapproval and fear.

The speaker then dismisses the travelers—presumably wise men or representatives of power—rejecting their gifts of “frankincense and myrrh” and refusing them entry into their home. The refusal is framed as both a practical decision (“You get no lodging underneath these roofs”) and a protective measure. The speaker seems determined to keep certain forces at bay, preventing them from disturbing the peace, symbolized by the sleeping figure, presumably Christ, lying in the bed. The line “You will wake him if you stir” serves as a warning, suggesting that disturbing this sleeping figure (who is not directly identified but is implicitly linked to Christ) could bring trouble or destruction.

The speaker’s reference to “Zoroastrians” and “governors from Rome” suggests a world where different powers—religious, imperial, and cultural—are in conflict. The speaker seems to want to keep these factions at a distance, as they are seen as outsiders with their own agendas, potentially threatening the fragile peace the speaker values. The mention of their “secret plans” hints at hidden motives, perhaps alluding to political conspiracies or the manipulation of power behind the scenes.

In the middle of the poem, there is a direct address to a “young captain” who is advised to temper his arrogance and to control his soldiers, who are portrayed as unruly and violent. The command to stop the soldiers from swearing, spitting, or gambling implies a broader critique of the militaristic and morally questionable behavior that often accompanies power. This section further suggests that the speaker is deeply concerned about the corruption and the abuse of authority by those in power, especially those who are associated with violence.

The latter half of the poem shifts in tone as the speaker addresses a figure who is presumably Christ, lying in bed with a “counterpane” hiding a wound. The imagery of Christ sleeping, “like some ingenuous shepherd boy” or “carpenter’s apprentice,” presents him as humble and passive, in contrast to the violent, warlike figures previously described. The speaker advises against waking Christ and urges that he remain undisturbed, reinforcing the theme of peace and nonviolence. The line “His sword from heaven, with the double edge / Which, for your service, is no longer sharp” suggests that the power once wielded by Christ has been withdrawn or softened, no longer serving as a tool of destruction. This serves as both a literal and metaphorical sign that the time for violence has passed, and a new order of peace and humility is in place.

Finally, the speaker warns against speaking of war in the presence of this sleeping figure, implying that the time for conflict has ended. The “deeper wound” and the “iron bar” mentioned could symbolize both physical and emotional pain, but the refusal to speak of war further suggests that the focus should be on healing and peace rather than on perpetuating violence.

In "Twelfth Night," Wylie uses biblical allusions and critiques of power to explore themes of fear, control, and the consequences of violence. The speaker’s wariness of authority figures and their emphasis on peace reflect a tension between the forces of oppression and the quiet power of humility and rest. The poem ultimately suggests that true strength lies not in violence or domination but in the peaceful, passive endurance symbolized by the sleeping Christ figure.

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