Poetry is not necessarily spiritual, but when the Muses are involved in the creation of poetry, the religious undertones are always apparent. In Greek mythology the Muses were nine goddesses that inspired “all artists, especially poets, philosophers and musicians” (Encarta). While references to the Muses are abundant in poetic works, the only two poets studied so far that directly mention the inspiring muses are Phillis Wheatley and Ralph Waldo Emerson. An analysis of the works of these two astounding poets reveals some common spiritual themes like fate and purpose, connectivity amidst diversity, and the meaning of life. Since these themes seem to be present in all artistic work that is inspired by the Muses, they seem less like a Greek invention and more like a symbolic representation of a universal, archetypal aspect of the creative human spirit that draws its powers from the collective soul, deep within an individual’s unconscious mind. The poetry inspired by the Muses does not merely entertain, but takes on great meaning, illustrating the wholeness and complexity of life. Muse-inspired poetry delights the soul by reveling in the wonders of nature and life, whilst it challenges the mind to confront the harsh realities facing humanity.
Not only is Phillis Wheatley one of the most talented American poets studied thus far, she was also highly “favored by the muses” according to George Washington (poets.org, “Wheatley”). In “To S.M., A YoungAfrican Painter, on Seeing His Works” Wheatley takes delight in the beauty and vitality of creative works of arts, while giving the muses credit for inspiring artists of all kinds, from poets to painters (Ferguson et al., 661). Wheatley begins the poem by admiring how S.M. expresses the intentions of his heart and mind through his paintings, which take on a life of their own. Wheatley is spiritually moved by the painting and goes on to marvel at the magnificence of all artistic creations. She speaks of the “painter’s and the poet’s fire,” or soul, which “conspire(s)” to inspire artistic creations containing depth and meaning (lines 9 & 10). Thus the artist is not just producing something entertaining and pretty, but is also pursuing their own “noble path” of creating inspirational and purposeful art which will lead them to “immortal fame” (line 7 & 12). Later in the poem Wheatley gives the Muses credit for inspiring such heavenly art, leading to the conclusion that the muses are connected to the soul of the artist. Their influence is felt through some internal part of the artist’s unconscious which is grounded in its connection to the collective unconscious, i.e. God. Wheatley’s muse glows with “heav’nly transport,” and seems to connect the consciousness of the artist to the depths of their soul. Later when her “gentle muse” ceases, she is no longer able to see “the fair creation,” or rather her moment of insight has ended only to return when her muse returns (lines 33 & 34).
“An Hymn to Humanity, To S.P.G Esq” is another poem by Wheatley that is inspired by the Muses and full of spiritual connections (Renascence Editions) . Wheatley must be referring to Jesus Christ when she speaks of a “prince of heav’nly birth,” however her conception of Christ is not contained in one man, but instead encompasses all of “divine Humanity,” or the godliness hidden within each human heart (stanza 1, lines 3 & 4). Later in the poem Wheatley speaks of the “languid muse” and the “celestial nine,” which descend unto her mind and lead her imagination (stanza 5, lines 2 & 4). Jesus Christ and the Muses are connected through their union with the human soul, and their ability to elate the heart and inspire the mind. They both symbolize inspirational forces that are able to “enlarge the close contracted mind, and fill it with thy fire” (stanza 3, lines 5 & 6). Thus, the sacredness of Christ or the Muses is expressed in their ability to open an individual up to the divine quality of life, while inspiring them to listen to and follow the divine leader inside their soul.
Another poet with exceptional artistic ability and a strong bond with the Muses is Ralph Waldo Emerson. Unlike Wheatley, Emerson was a card-holding member of the dominant group, which gave him the ability to be much more rebellious and blunt in his opposition to the powers that be. Both artists express a belief that all humans come from a divine source and are thus connected to a divine force that is felt internally. However, Emerson was more direct in supporting the rule of this inner power within the individual, yet connected to all, over the pre-existing outer powers that currently ruled society. Emerson was a strong supporter of Transcendentalism, and in his first book, Nature, he named the force, which connects everything and is within everyone, the “Over-Soul ~ a Supreme Mind that every man and woman share” (poets.org, “Emerson”)
Emerson celebrates the endurance of the collective soul in “Ode,” but first he deals with the shallowness of Western life and the vain pursuit of excessive material goods (Ferguson et al., 852). He begins the poem explaining why he must spend time in his own thoughts rather than the “priest’s cant” or the “statesman’s rant,” in order to write from his soul. If he follows the lead of others the “angry Muse” will put “confusion in (his) brain” (stanza 2, lines 4 & 5). Emerson then goes on to artistically illustrate how the pursuit of material goods has taken over our lives at the cost of “friendship” and “love” (stanza 9, line 10). In the end people are not serving their souls, but instead are serving the material goods which direct their lives. As Emerson so poetically and perfectly puts it, “things are in the saddle, and ride mankind” (stanza 7, lines 7 & 8). Emerson deals with grave issues such as slavery and genocide, but he seems to think even these horrors have a silver-lining. When times are at their worst and people have lost all “the astonished Muse finds thousands at her side” (stanza 11, line 8). This illustrates how tragedy serves the purpose of uniting people not only with each other, but with the deeper aspects of their soul, represented by the Muse.
In “Intellect,” Emerson describes the wisdom of the individual when he or she follows their instincts and is led by their soul instead of society (Ferguson et al., 854). This wisdom comes from an unknown source, or as Emerson puts it, “knowledge not its fountain knows,” similar to how the poet must feel when the muse whispers the perfect verse into his ear (line 2). The Muses are not mentioned directly in this short, yet complex poem, but their influence is apparent. Emerson must be guided by some mystical force to be able to see things from such a different perspective that he is “to his own blood strange” (line 6). Actually, Emerson left this poem untitled, and I think “Wisdom” would have been a more appropriate title than “Intellect.” He’s not talking about being intellectual or knowing the most. He’s talking about the wisdom one gains when they are brave enough to follow their own inner lead and look at life from many different perspectives, beyond the scope of their own personal perspective.
In order to connect with the deeper aspects of the soul, or the Muses, a poet must be very self-reflective and familiar with suffering and feelings of desperation. As a result, muse-inspired poetry tends to deal with the meaning of life, the beauty of nature, and the endurance of the soul. A creative mind is not something that is given to some and not others. Rather, everyone has the potential for creativity, but it must be nurtured from the inside out. In order to connect with deeper aspects of the mind and harvest creative abilities, a poet must spend an excessive amount of time in their own thoughts, contemplating the meaning of life and purpose of humanity. Thus, the questions must be asked before the answers are revealed. Connecting to the Muses can be very time-consuming, but in the end the results are timeless and continue to inspire awakening minds generations after the poet has left the stage.
Works Cited
“Muses,” Encarta Premium. 2006. Microsoft. 18 October 2006 <http://encarta.msn.com/enyclopedia_761568669/Muses.html>.
“Phillis Wheatley.” poets.org. 2006. Academy of American 18 October 2006 <http://poets.org/poet.php/prmPID/431>.
“Poems: Phillis Wheatley.” Renascence Editions. 1998. Judy Boss. 18 October 2006 <http://www.uoregon.edu/~rbear/wheatley.html>.
“Ralph Waldo Emerson.” poets.org. 2006. Academy of American 18 October 2006 <http://poets.org/poet.php/prmPID/201>.
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