These dynamic and introspective poems explore the nature of power, its allure, and its consequences. They may examine the dynamics of power in interpersonal relationships, institutions, or society at large.
These verses may reflect on the abuse of power, the thirst for dominance, or the responsibility of wielding influence. Poets use language to examine power dynamics critically, raising questions about ethics and morality.
These poems become mirrors of our understanding of power, urging readers to reflect on their relationship with power and how it shapes their lives and interactions.
‘For a’ That and a’ That’ by Robert Burns describes man’s true worth as not being defined by wealth, position, or possessions.
While the poem acknowledges the social power held by the rich and titled, it emphasizes that true power lies in qualities of integrity and honesty. By declaring that 'The honest man, tho' e'er sae poor, / Is king o' men for a' that,' and asserting that an honest person transcends the power of titles like duke or marquis - 'A marquis, duke, an' a' that; / But an honest man's aboon his might,' the poem underscores the inherent strength and power of moral character over external authority or wealth.
‘The Lighthouse’ celebrates the lighthouse as a symbol of guiding knowledge with historical and mythic significance.
Power is depicted in Clarke's poem through nature’s dominance and the energy harnessed by humanity through the lighthouse. The latter represents humanity’s ability to exploit natural forces (light, electricity) to save lives, yet this power is portrayed as precarious. It is the former that necessitates such a power, as it's the only hope sailors have when engulfed by the apathetic but colossal force of the ocean. Easily grinding bones to sand, the sea rages around the lighthouse even as its beam penetrates the dark gloom, affirming the endurance of that timeless human power.
Armitage’s ‘Chainsaw Versus the Pampas Grass’ depicts the speaker’s futile attempt to eradicate the grass with the ferocious chainsaw.
Through the chainsaw and the pampas grass, the poem distinguishes between the powers of human technology and nature. The chainsaw represents an aggressive, terrifying, violent, destructive, and reckless force, allowing the speaker to feel dominant and powerful with its ability to destroy everything. The pampas grass represents nature's enduring, persistent, resilient, and silent force that allows the grass to protect and renew itself while standing against the chainsaw's violence. It calmly clogs the chainsaw's blade, showing its silent yet superior and responsible power that defends and defeats, shattering the chainsaw's or the speaker's dreams of destruction and illusion of dominance.
It seemed an unlikely match. All winter unplugged, grinding its teeth in a plastic sleeve, the chainsaw swung nose-down from a hook in the darkroom under the hatch in the floor. When offered the can
Donne’s ‘Death, be not proud,’ rooted in the Christian idea of the afterlife, challenges the personified death, exposing its illusory power.
The poem reverses the power dynamics between death and humans by depicting death as impermanent and humans as eternal. It accuses death of false pride, asserting it cannot truly kill anyone, and instead of being fearsome, it is merely helping souls reach the afterlife. The speaker mocks death, calling it a slave associated with lowly things. Additionally, he claims poppy and charms can induce better sleep than death. The firm belief in the afterlife empowers the speaker, instilling a sense of victory and power in readers who might share similar beliefs.
‘Cahoots’ by Carl Sandburg delves into the dark underbelly of a corrupt city, exposing the collusion and exploitation that thrive within its power structures.
This poem explores the topic of power through the depiction of individuals and groups engaging in corrupt activities and manipulative behavior. The poem highlights how those in positions of power use their influence to exploit and control others. It exposes the collusion and conniving nature of individuals who seek to gain power and maintain their dominance.
Auden’s ‘Consider This and in Our Time’ captures a society poised on the brink, blending serene imagery with ominous undertones of political upheaval.
Power in the poem is sinister, represented by the antagonist’s ability to manipulate fear, spread rumors, and mobilize latent forces to dismantle society. Auden critiques the destructive potential of unchecked power, showing how it thrives on control, fear, and repression to maintain dominance, even in subtle, insidious ways.
Heaney’s ‘A Constable Calls’ captures a tense childhood memory with a constable, blending innocence with the shadow of authority.
The poem tackles the topic of power through the constable's authoritative presence, representing the British state's control over the Irish populace. The constable’s calm demeanor and the family's fearful submission underscore the power imbalance. Heaney’s focus on the constable's gun and ledger as symbols of control emphasizes how power is exercised and felt in everyday situations.
‘The Hands that Signed the Paper’ is a war protest poem that derides the appalling apathy and ruthlessness of the rulers toward ordinary citizens.
This poem is definitely a very potent commentary on the power-hungry leaders of the world who don't care at all about their people. The often-used metaphor in the poem, which is the main subject, is a ruler's hand. It is shown to have a mind of its own that epitomizes the overpowering personality of a selfish and arrogant leader of a state that is entirely apathetic to his fellow citizens, even during a war.
‘Time’ by Allen Curnow is a highly relatable poem that depicts time through a series of metaphors that personify it.
Time's presence in this poem is mostly about how much power the force has over the world. It's seen in all things, from emotions to events to changes that humanity undergoes. It's impossible to escape it. In fact, Time's power is equated to that of a deity.
I am the nor-west air among the pines
I am the water-race and the rust on railway lines
I am the mileage recorded on the yellow signs.
I am dust, I am distance, I am lupins back of the beach
Walter Scott’s ‘Marmion and Douglas’ is an extract from “Marmion” that focuses on the insightful conversation between Douglas and Marmion.
Throughout the poem, the play of power is displayed, especially in the case of Marmion. He uses his power to escape the punishment for his evil deeds. On the other hand, powerless characters like Clare, Constance, and others had to succumb to their ill fate.
‘I have never seen “Volcanoes”’ by Emily Dickinson is a clever, complex poem that compares humans and their emotions to a volcano’s eruptive power.
The huge power of volcanoes might seem incomparable to the emotions of human beings, but humanity's explosive capacity for outbursts of both love and hate can rival any volcano.
‘A Chorus’ celebrates the myriad ways the divine manifests its presence in the world around us, whether through human interaction or nature.
Power in the poem is closely linked to god's role as a force that sustains and shapes the world. The speaker describes them as a "huge trusted power" that moves in "continual creation." Jennings also paints God as an omnipotent entity, simultaneously grand and gentle, not oppressive but nurturing, guiding both the natural world and human life. In portraying this force as ever-present, the poem emphasizes this power is woven into the very fabric of existence and essential to its continuation.
‘Batter my heart, three-person’d God’ responds to religious doubt with a passionate surrender to god’s aggressive but ecstatic will.
Another topic explored is the idea that god exerts a profound amount of power on humanity. Donne uses a variety of images and metaphors to depict this use of force as a physical conquering of the soul, subduing it as one might a town or "imprison" an individual. This power, despite being described in relatively aggressive terms, is welcomed by the speaker and experienced only as a divine ecstasy.
Batter my heart, three-person'd God, for you
As yet but knock, breathe, shine, and seek to mend;
‘Fra Freud’ is a poem about how Sigmund Freud’s wife counters one of his psychological theories with the use of humour and feminist philosophy.
The speaker of this poem, Sigmund Freud's wife, contests her husband's theory of 'penis envy', which associated the phallus with power. Rather than regarding the phallus as a symbol of power, the speaker highlights its perceived unattractiveness and the connotations of violence it holds for her. She reclaims female power as she suggests that rather than women being envious of men, it is men who envy women. The poem concludes as the speaker revels in her power, affording her husband 'pity'.
Ladies, for argument's sake, let us say
that I've seen my fair share of ding-a-ling, member and jock,
The ‘Act 2 Prologue’ of Romeo and Juliet uses the chorus to set the stage for the tragic play’s central conflict and passion.
In the penultimate line of the sonnet, the chorus mentions their "passion lends them power," referring to the hope that love will temper their families' hate. Love indeed gives the couple a certain strength and resilience; yet, it also unleashes unintended consequences in the form of further violence. Furthermore, the belief that passion or power would do anything but fan the flames further is rather ironic, especially given that it is both Romeo and Juliet who are driven to tragic extremes.
Now old desire doth in his death-bed lie,
And young affection gapes to be his heir;
That fair for which love groaned for and would die,
Our Poem Guides, PDFs, Study Tools, and Articles are created by a team of qualified poetry experts to provide an unparalleled in-depth look into poetry.
