'Helen In Egypt' by H.D.

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Helen herself seems almost ready for this sacrifice
-at least, for the immolation of
herself before this greatest love of Achilles,his dedication to "his own ship" and the
figurehead, "an idol or eidolon ...
a mermaid, Thetis upon the prow."Did her eyes slant in the old way?
was she Greek or Egyptian?
had some Phoenician sailor wrought her?was she oak-wood or cedar?
had she been cut from an awkward block
of ship-wood at the ship-builders,and afterwards riveted there,
or had the prow itself been shaped
to her mermaid body,curved to her mermaid hair?
was there a dash of paint
in the beginning, in the garment-fold,did the blue afterwards wear away?
did they re-touch her arms, her shoulders?
did anyone touch her ever?Had she other zealot and lover,
or did he alone worship her?
did she wear a girdle of sea-weedor a painted crown? how often
did her high breasts meet the spray,
how often dive down?

Editor 1 Interpretation

Helen In Egypt: Deconstructing the Myth

Introduction

H.D.'s "Helen In Egypt" is a complex and multi-layered poem that deconstructs the myth of Helen of Troy. Through its exploration of language, imagery, and form, the poem uncovers the multiple meanings and interpretations that have been attached to the Helen myth over the centuries.

In this literary criticism and interpretation, I will examine the ways in which H.D. uses language, imagery, and form to deconstruct the myth of Helen of Troy and explore the themes of female empowerment and agency.

Background

Before delving into the poem, it is important to provide a brief background on the myth of Helen of Troy. According to Greek mythology, Helen was the most beautiful woman in the world and was married to the King of Sparta. However, she was abducted by the Trojan prince Paris, which led to the Trojan War.

Throughout history, the myth of Helen has been used to justify colonization, male violence, and the oppression of women. H.D. challenges these interpretations by presenting a different perspective on the myth.

Language

One of the key elements of H.D.'s deconstruction of the myth is her use of language. Throughout the poem, she subverts traditional language and syntax, creating a fragmented and disjointed narrative that reflects the fragmented nature of the myth.

For example, the poem opens with the lines:

"O the night in the garden, the one voice calling and the black echo answered, silent all else on earth; the eye threading the needles of the stars…"

These lines highlight the fragmented nature of the narrative by using short, staccato sentences and omitting traditional punctuation. This creates a sense of disorientation and confusion that mirrors the confusion surrounding the myth of Helen.

H.D. also uses language to challenge traditional interpretations of the myth. For example, she describes Helen as "not quite beautiful," which challenges the traditional portrayal of Helen as the epitome of beauty. This suggests that the myth of Helen has been constructed and manipulated to suit the interests of men.

Imagery

Another key element of H.D.'s deconstruction of the myth is her use of imagery. Throughout the poem, she uses vivid and often surreal imagery to create a dreamlike atmosphere that reinforces the idea that the myth of Helen is a construct of the human imagination.

For example, she describes Helen's journey to Egypt as follows:

"She came to Memphis, to Thebes, to Hecatompylos, and to Babylon, to Ecbatana, to Susa, to Pasargadae, to Persepolis, to the cities round the Caspian Sea…"

This imagery creates a sense of timelessness and universality, suggesting that the myth of Helen is not confined to a particular time or place.

H.D. also uses imagery to challenge traditional interpretations of the myth. For example, she describes Helen as "wearing a mask of blood," which challenges the traditional portrayal of Helen as a passive victim. This suggests that Helen had agency and actively participated in the events that led to the Trojan War.

Form

Finally, H.D. uses form to deconstruct the myth of Helen. Throughout the poem, she uses a variety of forms, including free verse, prose, and dramatic monologue. This reflects the fragmented nature of the myth and emphasizes the idea that the myth is a construct of the human imagination.

For example, the poem includes a dramatic monologue in which Helen speaks in her own voice:

"I was not half so beautiful as this, lamping the night-streets with delicate marbles, a ghost-woman."

This monologue challenges traditional interpretations of the myth by giving Helen a voice and agency. It also emphasizes the idea that the myth of Helen has been constructed and manipulated to suit the interests of men.

Conclusion

In conclusion, H.D.'s "Helen In Egypt" is a complex and multi-layered poem that deconstructs the myth of Helen of Troy. Through its exploration of language, imagery, and form, the poem uncovers the multiple meanings and interpretations that have been attached to the Helen myth over the centuries.

By challenging traditional interpretations of the myth, H.D. emphasizes the idea that the myth is a construct of the human imagination and that women have been oppressed by these constructions. Ultimately, the poem celebrates female empowerment and agency, suggesting that women have the power to construct their own narratives and challenge traditional patriarchal interpretations of history and myth.

Editor 2 Analysis and Explanation

Helen in Egypt: A Masterpiece of Modernist Poetry

H.D.'s "Helen in Egypt" is a masterpiece of modernist poetry that explores the myth of Helen of Troy from a feminist perspective. The poem is a complex and multi-layered work that combines ancient Greek mythology with modernist techniques to create a powerful and thought-provoking meditation on the nature of love, desire, and identity.

At its core, "Helen in Egypt" is a retelling of the story of Helen of Troy, the most beautiful woman in the world, who was abducted by the Trojan prince Paris and taken to Troy, leading to the Trojan War. In H.D.'s version of the story, however, Helen is not a passive victim but a powerful and independent woman who takes control of her own destiny.

The poem is divided into three sections, each of which explores a different aspect of Helen's story. The first section, "The Pool," describes Helen's journey to Egypt, where she seeks refuge from the war and encounters the god Hermes, who guides her to the temple of the goddess Isis. Here, Helen undergoes a transformation, shedding her old identity and embracing a new one as a priestess of Isis.

The second section, "The Lotus-Eaters," is a dream-like sequence in which Helen is transported to a magical island where she encounters the lotus-eaters, a group of women who represent the seductive power of desire. Here, Helen is tempted to abandon her new identity and return to her old life as the wife of Menelaus, but ultimately resists the temptation and reaffirms her commitment to her new identity.

The third and final section, "The Chapel," is a climactic confrontation between Helen and the ghost of Achilles, the great warrior who died in the Trojan War. Here, Helen asserts her independence and rejects Achilles' attempts to possess her, declaring that she is no longer the woman he knew in Troy but a new and different person.

Throughout the poem, H.D. uses a variety of modernist techniques to create a sense of fragmentation and dislocation, reflecting the fragmented nature of Helen's identity. The poem is full of abrupt shifts in perspective, sudden changes in tone and mood, and disjointed images and metaphors that create a sense of disorientation and uncertainty.

At the same time, however, the poem is also full of rich and evocative imagery that draws on the ancient Greek mythological tradition. H.D. uses images of water, fire, and light to create a sense of elemental power and energy, while also drawing on the symbolism of the lotus flower to represent the seductive power of desire.

One of the most striking aspects of "Helen in Egypt" is its feminist perspective. H.D. presents Helen as a powerful and independent woman who refuses to be defined by the men in her life. She rejects the traditional role of women as passive objects of male desire and instead asserts her own agency and autonomy.

At the same time, however, H.D. also acknowledges the complexity and ambiguity of desire. She recognizes that desire can be both liberating and destructive, and that it is often difficult to distinguish between the two. In this sense, "Helen in Egypt" is a deeply humanistic work that explores the complexities of the human psyche and the nature of identity and desire.

In conclusion, "Helen in Egypt" is a masterpiece of modernist poetry that combines ancient Greek mythology with modernist techniques to create a powerful and thought-provoking meditation on the nature of love, desire, and identity. H.D.'s feminist perspective and her use of rich and evocative imagery make this poem a timeless work of art that continues to resonate with readers today.

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