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SILENCE OF VOLCANOES, by             Poet Analysis     Poet's Biography

Muriel Rukeyser's "Silence of Volcanoes" is a vivid and evocative poem that explores themes of nature, memory, and time through striking imagery and complex metaphors. The poem is divided into three sections, each contributing to a tapestry of visual and emotional landscapes that draw the reader into a contemplation of both natural grandeur and human suffering.

In the first section, Rukeyser sets the stage with powerful imagery of mountains and shadows: "The mountains and the shadows move away / Under their snows to show an immense scene: / A field of cathedrals." This opening suggests a revelation, a moving away of obstacles to reveal something monumental. The "field of cathedrals" evokes a sense of awe and reverence, as if nature itself is a sacred space. The description of domes in various colors—eye-green, the color of trumpets, obliterated rose, and impure copper—adds a surreal quality to the landscape, blending the organic with the constructed. The domes are likened to "pale shoulders," "grass-haired and deformed," and "the dome-capped pyramid to the god of the air," further blending human and natural forms. The final lines of this section, "This is the field that glittered in massacre, / Time is boiling with domes," introduce a sense of historical violence and the relentless passage of time, suggesting that even the most beautiful landscapes are marked by conflict and change.

The second section shifts focus to a woman who "has been begging for ninety-seven years." Her persistence and suffering are set against "shadows of gold," creating a poignant contrast between her plight and the opulent backdrop. The imagery of her leaning face and dissolving domes evokes a sense of weariness and the passage of time. The line "All her unfallen tears" suggests a lifetime of unexpressed sorrow. The mention of "a room for sale in a picture / Torn as this landscape" adds a layer of personal memory and loss, connecting the external landscape with internal emotional states. The woman's obsession with "a single thing" hints at a deep, consuming focus, perhaps on her suffering or a lost hope.

The third section presents a more specific and confined setting: "A hall at the National Pawnshop crowded with unsold bureaus." This image of disuse and abandonment contrasts sharply with the grandeur of the previous sections. The figure of the saint, "Red-robed and listening," surrounded by books and "strict black-and-white tile," introduces a religious or spiritual element. The saint is described as looking at "the Sign," suggesting a search for meaning or direction. The mention of a "sleeping garden where his lion, / The guardian, lies in a silence of volcanoes" blends tranquility with latent danger, as if the silence holds potential for sudden eruption. The final lines, "Hung in that air, there pierces his leaning soul / The cheap tin trumpet that is the voice of God," juxtapose the divine with the mundane, suggesting that profound truths can be found in the most unexpected places.

The poem concludes with the single word "Mexico," grounding the fantastical and abstract imagery in a specific cultural and geographical context. This adds a layer of cultural richness to the poem, suggesting that the landscapes and experiences described are deeply rooted in Mexican history and mythology.

"Silence of Volcanoes" is a rich and layered poem that uses vivid imagery and complex metaphors to explore themes of nature, time, memory, and human suffering. Rukeyser's ability to blend the surreal with the concrete creates a powerful and evocative reading experience, inviting readers to reflect on the ways in which the external world mirrors internal emotional landscapes. Through its intricate descriptions and poignant contrasts, the poem captures the beauty and violence of both the natural world and human experience, suggesting that the two are inextricably linked.


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