Poem Analysis - Jehovah Buried Satan Dead

Introduction: A World of Decay and Lost Humanity

E.E. Cummings's "Jehovah Buried, Satan Dead" is a scathing indictment of modern society, a world where traditional values have crumbled and been replaced by superficiality and conformity. The poem resonates with a cynical and accusatory tone, punctuated by moments of despair. It depicts a world where genuine emotion is suppressed, and individuality is sacrificed on the altar of progress and societal pressure. The poem's unrelenting critique challenges the reader to question the very definition of humanity in such a corrupted environment.

The Death of Tradition and Rise of Conformity

The opening lines, "Jehovah buried, Satan dead," immediately establish a world devoid of traditional moral anchors. With God and the Devil both gone, the poem suggests a spiritual and ethical vacuum. This void is quickly filled by "Much and Quick," representing the shallow, fast-paced consumerism of modern life. "Badness not being felt as bad" implies a moral relativism where genuine evil is normalized, and true goodness is mistaken for meekness. This sets the stage for a society characterized by blind obedience and mindless conformity, exemplified by the onomatopoeic "obey says toc, submit says tic." The "Eternity's a Five Year Plan" reduces the infinite to a finite, easily managed construct, highlighting the reductionist tendencies of modern thought.

The Dehumanizing Effects of Progress

One of the poem's central themes is the dehumanizing effect of unchecked progress and technological advancement. "Gadgets murder squack and add" suggests that technology, instead of enriching life, is stifling genuine expression ("squack") and reducing everything to mere calculation ("add"). "The cult of Same is all the chic" points to the suffocating pressure to conform to societal norms, sacrificing individuality for the sake of acceptance. The poem further critiques the obsession with measurement and control, as seen in "by instruments, both span and spic, / are justly measured Spic and Span." This highlights the reduction of complex human qualities to quantifiable metrics, reflecting a world obsessed with order and predictability at the expense of authenticity. The rhyme of "span and spic" with "Spic and Span" further drives the sense of artificiality and sterile neatness being imposed upon life.

The Corruption of Values and the Loss of Authenticity

The second half of the poem delves deeper into the corruption of fundamental values. "Loudly for Truth have liars pled" highlights the pervasive hypocrisy that characterizes this decaying society. Where "Boobs are holy, poets mad" indicates an inversion of values, where ignorance is revered, and genuine artistic expression is marginalized. The "illustrious punks of Progress shriek" suggests that those who champion progress are often shallow and self-serving individuals. The poem culminates in a series of stark pronouncements: "when Souls are outlawed, Hearts are sick, / Hearts being sick, Minds nothing can." This paints a bleak picture of a society where genuine feeling and critical thinking are suppressed, rendering individuals incapable of empathy or understanding. The starkness of "if Hate's a game and Love's a fuck" portrays the ultimate degradation of human connection, reducing profound emotions to trivial pursuits.

The Recurring Question: Who Dares to Call Himself a Man?

The recurring question, "who dares to call himself a man?" acts as a scathing indictment of the societal trends Cummings critiques. It implies that true humanity is incompatible with the values and behaviors prevalent in the modern world. The image of "to kiss the mike if Jew turn kike" is a particularly troubling and ambiguous one. It could be interpreted as a commentary on the self-degradation and the loss of identity when one compromises one's principles for acceptance in a corrupt society. The use of derogatory terms in such a specific instance could be understood as a stark representation of the extreme lengths to which people will go to conform. It’s possible, given Cummings’ overall critique, that this line is meant to be deeply unsettling, questioning the cost of assimilation and the distortion of self that it demands. The image is jarring, and likely intended to shock the reader into confronting the moral compromises being made in the pursuit of social acceptance.

Conclusion: A Bleak Warning and a Call to Resistance

"Jehovah Buried, Satan Dead" is ultimately a pessimistic and deeply unsettling poem that serves as a potent critique of modern society. The final stanza, with the image of "King Christ, this world is all aleak; / and lifepreservers there are none," emphasizes the sense of impending doom and the absence of salvation. The poem's relentless negativity and its unflinching portrayal of societal decay are designed to provoke a reaction, to jolt the reader out of complacency. The concluding lines, "and waves which only He may walk / Who dares to call Himself a man," while seemingly hopeless, might also be interpreted as a call to radical individualism and moral courage. Perhaps the poem hints that only those who dare to defy the prevailing trends and uphold their own values can truly claim their humanity in a world adrift.