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Abstract
“Chorus of the Rescued” by Nelly Sachs illustrates the experience of Holocaust survivors as they
reintegrate back into society following the end of World War II. Sachs explores this topic using
unsettling imagery and delicate, relevant symbolism throughout to significantly enrich the
underlying message of the piece. By incorporating imagery that so clearly illustrates the author’s
intention, “Chorus of the Rescued” vividly depicts the unique battles Holocaust survivors were
communicates the long-term effects this historical event had not only on its direct survivors but
also on their families, friends, and those who aided them in re-entering the world after such a
traumatic experience. This piece explores the disturbing nuances of Holocaust survivors’
psychological, physical, and generational trauma through imagery and symbolism that clearly
describe the complicated experience of facing daily violence, death, and uncertainty, only to
Nelly Sachs’ poem “Chorus of the Rescued” highlights both the physical and
psychological pain that Holocaust survivors suffered by depicting their unique and poignant
struggles of integrating back into everyday life following such a harrowing, life-changing
experience. Sachs uses remarkable imagery to disturb the reader, invite uncomfortable questions,
and convey the very haunting message that these survivors, although now rescued, have been
symbolism, Sachs illustrates the unrelenting pain Holocaust survivors endured, not by describing
the horrors they experienced at the hands of Nazi soldiers or in concentration camps, but rather
through detailing the inescapable trauma that remained with them for the rest of their lives.
Imagery
Sachs opens with heavy imagery regarding death, describing survivors as “from whose
hollow bones death had begun to whittle his flutes” and “on whose sinews he had already stroked
his bow”. These dark and captivating terms instantly demonstrate just how close these people
had been to death every day, consequently hinting at the lasting impact of such an experience.
Garwood (2020) asserts that “Holocaust survivors were ordinary human beings who were forced
to endure extraordinary events. The mental processes available to them to survive these events
were the same as those available to all humankind”. The way Sachs states how their bodies
“continue to lament” and how “the worms of fear still feed on us”, describes very well the
lingering trauma survivors feel after years of living in such an unsafe, insecure environment,
having only their own coping mechanisms and psychological fortitude on which to rely.
Holocaust survivors were not simply tortured by ineffable fears and mental anguish, however;
Plunka (2017) explains that the most common manifestations of the psychopathology of these
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survivors included depression, nightmares, severe sleep issues, recurrent distressing memories,
often in the form of hallucinations, and various psychosomatic disorders; therefore, when Sachs
likens the survivors’ pain to a tidal wave, or mourns that their bodies were rescued but their souls
had been left behind, or asserts that the only thing they have in common with anyone anymore is
the imminence of death for everyone, she is quite plainly illuminating for the bystanders of this
tragedy just how deep-seated and irreparable the damage of this experience was and continued to
Sachs later describes this pain like a tangible force, difficult to control or ignore, referring
to it as “badly sealed” and able to “burst forth again and carry us away”, further illustrating the
all-encompassing nature of the agony survivors felt and the way it not only impacted them but
also those around them. In fact, according to Alfandary (2021), regardless of how far-removed
future generations are from World War II and their relatives’ experiences therein, “the stories
told, and the stories avoided…are passed on [to children] through unconscious processes,
uncanny in nature, where they continue to exert a heavy burden”. Among many other things,
Sachs’ impressive imagery effectively communicates the hopelessness, sorrow, and long-term
impact that so many Holocaust survivors and their families experienced after the war had ended.
In the subsequent lines Sachs requests, “show us your sun…but gradually…be gentle when you
teach us to live again” lest they “dissolve into dust”, depicting both the tragic degree of caution
survivors had to exercise while re-entering the world, as well as the delicate nature of their
Symbolism
Deeply woven into the images used in this piece is Sachs’ use of symbolism. She
specifically uses natural elements to describe complicated emotions and experiences, such as:
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describing the air before their nooses as “blue”, which typically symbolizes calmness or
peacefulness, to illustrate the submission they likely felt toward their seemingly hopeless
circumstances; describing the pain of survivors as water-like, with the fluidity to fill vessels and
drip through hourglasses, while also citing its unfettered and overwhelming might that can “burst
forth” and carry people away; and, lastly, often mentioning dirt and dust, which might be
referencing the fleeting and pointless nature of life, especially a life spent suffering – this
particular symbol could also be a reference to Old Testament scripture, that of the Jewish faith,
in which dust is described as the place from which humanity came and to which we will all
return.
Conclusion
Nelly Sachs’ poem “Chorus of the Rescued” uses powerful word-choice, haunting
physical and psychological – that Holocaust survivors endured during and after World War II.
The dark and meaningful imagery Sachs uses early in the poem immediately captures her
readers’ attention and invites them to react to her message from a place of deep emotion. Sachs’
distinctive examination of Holocaust survivors’ lives after the war gives outsiders a chance to
explore on a much more personal level the long-term effects of such trauma and its impact on
future generations, thus exemplifying on a very personal level just how devastating this historical
References
Alfandary, R. (2021). Postmemory, Psychoanalysis and Holocaust Ghosts. Milton: Taylor and
Francis.
Garwood, A. (2020). Holocaust Trauma and Psychic Deformation. Milton: Taylor and Francis.