Poem Analysis - Sekhmet The Lion Headed Goddess Of War

Introduction: A Goddess's Perspective

Margaret Atwood's "Sekhmet, the Lion-headed Goddess of War" offers a compelling and ironic perspective from the ancient Egyptian deity herself. The poem's tone is initially detached and sardonic, reflecting Sekhmet's pragmatic view of humanity and her role in their lives. It subtly shifts towards a yearning for compassion and a hope for healing, revealing a complex emotional depth beneath the fierce exterior. The poem masterfully explores themes of power, mortality, and the paradoxical nature of divinity.

Power, War, and the Futility of Violence

One central theme is the nature and perception of power, particularly as it relates to war and violence. Sekhmet contrasts herself with a man "who wouldn't hurt a fly," implying his ineffectiveness and ultimate demise ("Many flies are now alive / while he is not."). This highlights the harsh realities of a world where pacifism is not always rewarded. The poem suggests that while humans may strive for full granaries, the reality of life is that “I battle.” Sekhmet's "roar" signifies slaughter, emphasizing the destructive force she embodies. However, the poem also hints at the futility of such violence, especially with images of "the dried-out flesh / and bones, the wooden boats / in which the dead sail endlessly / in no direction." This imagery suggests that war, despite its power, ultimately leads to a meaningless end.

Mortality and the Human Craving for Salvation

The poem delves deeply into the human obsession with mortality and the desperate search for salvation. Humans offer gods "blood / and bread, flowers and prayer, / and lip service" in the hope of escaping death and securing earthly riches. "Favour me and give me riches, / destroy my enemies. / That seems to be the gist." This transactional relationship highlights the self-serving nature of human worship. Sekhmet questions this dynamic, suggesting that gods, whether animal-headed or fully human, haven’t produced particularly good news. The underlying theme is the futility of trying to bargain with mortality, questioning whether any offering can truly buy immortality or happiness.

Imagery of Stone and the Yearning for Kindness

Recurring imagery of stone is significant throughout the poem. Sekhmet herself is "composed / of stone," representing her immutability, her ancient origins, and perhaps her emotional detachment. This contrasts with the final image of a "kind lion / will come with bandages in her mouth / and the soft body of a woman," which introduces the opposite of stone: that of softness, healing, and compassion. The vivid image of the lion licking the fevered soul clean is striking in its tenderness, revealing a hidden desire within the goddess for healing and mercy. This seemingly contradictory image poses an interesting question: Can a deity of war truly embody and offer compassion? Is this image the wishful thinking from the line "composed of stone and wishful thinking"?

Conclusion: A Goddess of Paradox

In conclusion, "Sekhmet, the Lion-headed Goddess of War" is a powerful exploration of power, mortality, and the complexities of faith. Through the unique perspective of the ancient goddess, Margaret Atwood challenges conventional notions of divinity and exposes the often self-serving nature of human worship. The poem's sardonic tone gradually gives way to a poignant yearning for compassion, revealing a profound internal conflict within Sekhmet. Ultimately, the poem suggests that even the most fearsome deities may harbor a hidden desire for kindness and healing, offering a complex and nuanced portrait of a goddess caught between her divine duty and a human-like capacity for empathy. The poem’s significance lies in its ability to humanize a figure of immense power and to question the very nature of what it means to be both divine and mortal.