The New Colossus

“The New Colossus” is a lyric poem, but it could also be described as an occasional poem: that which is written to commemorate a certain occasion or event. In this case, as the poem was written as part of the fund-raiser for the pedestal for the Statue of Liberty, one might contend the poem commemorates the arrival of the statue. However, as the poem had no part of any official ceremony at the opening of the statue, some readers would object to calling it an occasional poem.

Titling the poem “The New Colossus” prompts the reader to wonder about the old colossus. The poem describes the old colossus as “the brazen giant of Greek fame, / With conquering limbs astride from land to land” (Lines 1-2). This description is a reference to the Colossus of Rhodes, a mammoth bronze statue of the sun god Helios placed at the harbor of the Greek island of Rhodes in the 3rd century B.C.E. to commemorate a military victory. It was destroyed by an earthquake 54 years later, but for some time legend had it the statue stood across the harbor with its feet on opposite sides. However, research has shown it to have been impossible for the ancients to construct a statue that large out of bronze and at that location. Current theories speculate that the Colossus of Rhodes was probably similar in size to the Statue of Liberty.

Stating this new colossus is “Not like” (Line 1) the old colossus sets up a contrast with the new. Calling this older statue a “brazen giant” (Line 1) is certainly a fair literal description, but it also has significant connotations. While “brazen” means made of bronze, it also evokes such concepts as hardness, stoicism, and determination. Likewise, “giant” refers to the statue’s immense size yet also connotes power and strength as well as inspiring awe. Also, saying the statue is “of Greek fame” does more than identify its cultural origins. As a pillar of Western civilization, ancient Greece and anything associated with it enjoys the esteem of many readers, thus suggesting ideas of superiority and excellence. Additionally, “fame” here reminds us of the statue’s great repute; indeed, it is considered one of the Seven Wonders of the Ancient World.

The second line reinforces the connotations established in the first, saying the old colossus possesses “conquering limbs astride from land to land” (Line 2). Of course, “conquering” continues the sense of power and strength initiated in Line 1, but also saying the statue stands “astride from land to land” underscores the impression of awesomeness created by the figure. That is, the statue overcomes the barriers of nature; it joins opposing sides together; it imposes itself on others. All told, then, the Colossus of Rhodes, and all it represents, projects a sense of power, grandeur, and authority, all of which are supported by the poem’s highly formal tone.

Starting with Line 3, we see how this new colossus is different from the old. This line offers the scene of the poem, the site where the statue is placed: “Here at our sea-washed, sunset gates shall stand” (Line 3). Again, this phrasing may seem simple and literal, but by describing the harbor as “sea-washed, sunset gates,” the line presents a softer, milder, more inviting impression than where the older statue was placed. Also, choosing to use “gates” to identify the harbor highlights its function as an entrance or a passageway as opposed to some other purpose, such as commerce.

With the following lines, the speaker offers the first description of the statue itself:

“A mighty woman with a torch, whose flame / Is the imprisoned lightning” (Lines 4-5).

Most significantly, rather than being a male figure like the Colossus of Rhodes, the Statue of Liberty is female. However, she is not weak or submissive but “mighty.” What makes her mighty is that she holds a “torch” lit by “imprisoned lightning.” The choice of “imprisoned” here may seem for some readers at odds with a poem honoring a statue dedicated to liberty. In any event, “imprisoned lightning” may be taken as a trope for electricity, as a plan was in place to set electric lights in the torch of the statue. But more to the purpose, for possessing a torch of “imprisoned lightning,” thus harnessing the power of nature for her use, this lady is “mighty” indeed.

Next, the speaker identifies the statue not by its official name, Liberty Enlightening the World, or even its informal moniker of the Statue of Liberty. Instead, the speaker declares, “her name / Mother of Exiles” (Lines 5-6). “Mother,” certainly, connotes a number of positive and enriching concepts: loving, nurturing, comforting, supporting. However, this woman is said to be the mother of “Exiles,” that is, mother of those driven or expelled from their homelands. Exiles are not the privileged or prestigious people of a society but the lowliest and most abject.

This mother draws the exiles to her from wherever they originate with the lines, “From her beacon-hand / Glows world-wide welcome” (Lines 6-7). The “beacon-hand” refers to the torch mentioned in Line 4. A beacon is a light illuminated for some purpose, such as a warning or guide. This beacon “Glows world-wide welcome” as a signal or focal point to those traveling from afar and bidding them to come. The following lines say, “her mild eyes command / The air-bridged harbor that twin cities frame” (Lines 7-8). Describing the eyes as “mild” corresponds with the connotations of motherhood already mentioned. However, the choice of “command” as the main verb does not let us forget that figure is a mighty colossus. Then, “The air-bridge harbor that twin cities frame” references Manhattan and Brooklyn (the latter was not a part of New York City at the time) with the “air-bridge harbor” possibly being a reference to the Brooklyn Bridge.

The remaining six lines of the poem personify the statue with speech. The statue first confirms her distinction from the European tradition by telling those “‘ancient lands’” to “‘[k]eep’” their “‘storied pomp’” (Line 9). This line also confirms that the statue is not interested in prestige or self-promotion. Instead, she invites the exiles alluded to earlier: “‘Give me your tired, your poor, / Your huddled masses yearning to breathe free’” (Lines 10-11). Each descriptor for these exiles indicates some quality that most people would find objectionable or distasteful. The “‘tired’” are those not only fatigued but who have been exploited and then cast off. The “‘poor’” are not only those without wealth but also without any other resources to recommend themselves. Calling these people “huddled masses” suggests their weakness and vulnerability. However, there is one other significant factor about these exiles: they are “‘yearning to breathe free.’” The choice of “‘yearning’” here indicates that their desire is not merely a trivial or fickle wish; it is, instead, a deep-hearted and persistent drive. Also, rather than simply saying the exiles wish to be free, the use of “‘breathe’’ here likens their desire for freedom to a functional need for life. The implication here is that all people need freedom, but these exiles are denied this need. This circumstance, in turn, is likely to induce a sympathetic response by readers.

At this point, the attitudes and beliefs about these exiles expressed by the statue are clear, but she continues on to call them “[t]he wretched refuse of your teeming shore” (Line 12). To say these people are “‘wretched’” indicates they are the least desirable, the lowest of the low in society. As if that is not enough, to call them “‘refuse’” is to basically call them garbage. Furthermore, the use of “teeming” to describe the exiles’ existence on the foreign “shore” conjures images of swarming vermin trying to escape. These are strong terms that by today’s standards are thought to be hateful and loathsome expressions. No doubt plenty of contemporaries to the poem viewed these exiles in just these abject terms. Does this mean the statue is not fully enlightened on the plight of these exiles, harboring some sense of animosity toward them and some thoughts of superiority over them? That stance is one explanation for this line. However, another is that the statue holds no illusions, no romantic fancies about these exiles. She knows how they are seen by the rich and powerful and welcomes them anyway–or, more accurately, welcomes them because of their lowliness. In this way, the statue may seem all the more honorable and selfless.

Whichever way one reads Line 12, the final two lines solidify the welcome offered by the statue to the exiles and the hope for a better life for them in America: “Send these, the homeless, tempest-tost to me, / I lift my lamp beside the golden door!” (Lines 13-14). Again, “homeless” suggests the exiles’ utter lack of basic necessities. Also, describing them as “tempest-tost” is one way to indicate the sea journey, which may be perilous but necessary for them to arrive in America. Figuratively, these exiles are “tempest-tost” in that they have been buffeted by the storms of life. Then, having arrived they are welcomed by the statue lighting the entrance to America’s “‘golden door.’” This concluding phrase stands out for echoing the “sunset gates” of Line 3, but more importantly “‘the golden door’” provides a glimmer of promise both materially and immaterially in that “golden” connotes both wealth and happiness.