Rose and myrtles (symbols)
Flower symbolism is incorporated into the opening scene of "Alexander's Feast." In Stanza 1, the speaker describes the war heroes as wearing roses and myrtles in their brows. Roses, in classical literature, are not only associated with love and desire, but are also commonly used as symbols of strength and determination in epic song and poetry. Roses are also often used to celebrate an individual's great achievements, as can be seen throughout the poem, which praises Alexander's military victory.
Myrtles represent growth, expansion, and conquest, as well as death and rebirth. Ancient Greeks carried myrtles with them to colonized land to represent their expansion and the new possibilities and opportunities brought about through the new land. Furthermore, the myrtle is closely associated with the rose as a symbol of love, as both roses and myrtles are closely connected to the goddess Aphrodite.
Musical instruments (motif)
Musical instruments are a key motif throughout the poem. Lines such as "Timotheus [...] with flying fingers touched the lyre" contribute to the magical, festive quality of the piece, while references to musical instruments in the imperative mood such as "Sound the trumpets, beat the drums" or "Now give the hautboys breath" evoke the atmosphere of a grand, communal celebration.
These references to musical instruments not only contribute to the elevated and festive tone of the poem, but also constitute an important theme of the piece. The poem as a whole expresses a sense of wonder towards the ability of musical instruments—inanimate, manmade objects—to influence and inspire the human mind. In Stanza 7, the speaker glorifies St. Cecilia's invention of the organ as a divine achievement that not only expanded the possibilities of musical performance, but also broadened humankind's understanding of the divine. In "Alexander's Feast," organs are more than just organs, and lyres are more than just lyres.
Wine (motif)
Scenes of drinking, drunkenness, and festivity appear throughout the poem. In Stanza 3, Timotheus performs a song dedicated to Bacchus, the Roman god of wine, winemaking, and religious ecstasy. Timotheus’s song evokes the playful image of the wine god’s face “[f]lush’d with a purple grace,” and celebrates the comfort and joy that wine can bring to the weary (“Sweet is pleasure after pain”). In the following stanzas, Alexander the Great is seen under the influence of alcohol, wearing “glowing cheeks,” then shedding tears, sinking upon the breast of Thais while “with love and wine at once opprest.” Wine, along with music, is presented in this poem as a powerful force that can easily impact the emotions and behaviors of its consumers.
The Trojan War (allegory)
In Stanza 6, the speaker describes Thais as “another Helen” who “fire[s] another Troy.” Here, the poem alludes to the Trojan War and uses the story of its onset as an allegory for Thais’s involvement in Alexander’s destruction of Persepolis. Thais, in Stanza 6, actively aids and participates in the burning of the Persian capital, “[leading] the way / To light him[Alexander] to his prey.” She is also described in earlier stanzas as an attractive woman, “[i]n flower of youth and beauty’s pride.” The speaker sees a similarity between the narrative of Thais and that of Helen of Troy in that both are beautiful female figures who become involved in male acts of violence. The beauty of Helen (“the face that launched a thousand ships”) leads to a competition among her suitors, and her abduction by (or elopement with) Paris is what is known to have initiated the Trojan War.
