18 pages 36 minutes read

To Helen

Fiction | Poem | Adult | Published in 1831

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Symbols & Motifs

Sea

The sea as a literary symbol appears in the Greek myths Poe references in “To Helen.” It endures as a common symbol over many centuries of poetry. Poe’s wanderer of yore (from the past) travels “o'er a perfumed sea” (Line 3). The sea represents being away from home, adventure, and conflict.

Like the term Nicéan barks, scholars have debated the kinds of perfumes Poe imagined and if they indicate the identity of Poe’s wanderer. For instance, one theory is that the sea is the Mediterranean and the wanderer is Roman poet Catullus. Often, the sea is considered the Aegean Sea, and the wanderer is considered to be Odysseus. Regardless of their identity, the sea antagonizes travelers, which is reflected in Poe’s diction (word choice): “On desperate seas” (Line 6). Being at sea is a vulnerable, or desperate, state.

Lamp

The “agate lamp” (Line 13) Helen carries in the final stanza holds the brightness associated with her beauty and domesticity. Her window is like the window of a lighthouse, and her lamp is like the one that shines out to travelers at sea. It is a signal of home and love.

When read with the following lines, the agate lamp takes on an additional mythical meaning. In Greek myth, “Psyche” (Line 14) discovers Cupid’s identity with a lamp. Before this lamp-lit moment, he had only been in Psyche’s presence in darkness. This allows for a reading of Helen’s lamp as a symbol of revealing truth and identity.

Statue

Another symbol in the poem is the statue. The speaker compares Helen’s stance, or posture, to a statue: “How statue-like I see thee stand” (Line 12). This can be read as an allusion to Shakespeare’s Winter’s Tale where the statue of Hermione comes to life. In Greek myth, Hermione is the name of Helen’s daughter. Shakespeare, like the Romantic poets, uses many allusions to Greek and Roman myth. The moment of Hermione coming to life recalls the Greek myth of the sculptor Pygmalion’s statue Galatea coming to life. Helen is like a sculpture that is framed by the window. This symbolism highlights her beauty as well as how the speaker reveres her like a work of art.

The statue also alludes to the arts, especially architecture and sculpture, that remain from the ancient world. The only parts of these works that endure are the pale and smooth surfaces of the eroded sculptures, which renaissance sculptors and architects sought to emulate in their opulent yet stark character. Despite this, Roman stonework was usually painted, often with bright colors and heavy pigments. By using the “statue-like” (Line 12) description, Poe is evoking a pale and eternal beauty that never really existed, not the colorful grandeur that would be seen as crass and perhaps ugly by 19th century readers.

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