Introduction
Toni Morrison’s Song of Solomon (1977), a pivotal work in American literature, explores African American identity, heritage, and the quest for freedom through rich symbolism. Central to the narrative is the motif of flight, which recurs from the novel’s opening to its ambiguous conclusion. This essay examines how flight symbolizes freedom, escape, abandonment, spiritual transcendence, and illusion, drawing on key quotes and analyses. The thesis posits that in Song of Solomon, the motif of flight evolves from an illusory and destructive escape to a mature form of spiritual and cultural liberation, reflecting the complexities of African American experiences under oppression. This evolution is traced through characters like Robert Smith, Milkman Dead, and Pilate, with parallels to the Icarus myth highlighting the dangers of false ambition. By integrating textual evidence and critical insights, the essay demonstrates flight’s multifaceted effects on identity and community.
The Illusion of Flight: Robert Smith and Icarus Parallels
The novel opens with a stark depiction of false flight through Robert Smith’s failed attempt, setting the tone for the motif’s illusory nature. Morrison describes, “The sight of Mr. Smith and his wide blue wings transfixed them for a few seconds” (Morrison, 1977, p. 5). Smith, an insurance agent promising to fly from Mercy Hospital, leaps to his death, symbolizing a desperate but doomed escape from racial oppression. This act parallels the Greek myth of Icarus, who flies with wax wings but falls when they melt near the sun, representing hubris and overreaching (Bulfinch, 1855). In Morrison’s context, Smith’s “flight” embodies the false hope of transcendence amid systemic racism, as it ends in tragedy without true liberation.
Analysis reveals this as “false flight,” where the illusion of freedom leads to destruction rather than empowerment. Critics note that Morrison uses this to critique escapist fantasies in African American history, where promises of uplift often fail (Wilentz, 1992). Milkman witnesses this event on the day of his birth, foreshadowing his own journey. Thus, the motif initially underscores abandonment and death, tying into the thesis by illustrating flight’s evolution from delusion to deeper meaning.
Escapist and Ancestral Flights: Milkman’s Journey and Cultural Myths
As the narrative progresses, flight shifts to represent escapist desires and ancestral power, particularly through Milkman Dead. Early on, Milkman yearns for escape: “He just wanted to beat a path away from his parents’ past, which was also their present and which was threatening to become his present” (Morrison, 1977, p. 220). This reflects a selfish, immature flight from family burdens and historical trauma, embodying “escapist flight” that avoids responsibility.
A pivotal moment is the peacock scene, where Guitar advises, “Wanna fly, you got to give up the shit that weighs you down” (Morrison, 1977, p. 179). Here, the peacock symbolizes beauty burdened by excess, like Milkman’s materialism and ego. Analysis ties this to the novel’s core: true flight demands shedding greed, aligning with spiritual transcendence. Furthermore, the myth of flying Africans, recounted as “He didn’t need no airplane… He flew… No more cotton!” (Morrison, 1977, p. 303), draws from African American folklore, symbolizing liberation from slavery and cultural memory (LeClair, 1981). For Milkman, discovering his ancestor Solomon’s flight connects him to his heritage, transforming flight from abandonment—as Solomon leaves his family—to a source of identity.
Pilate’s warning reinforces this duality: “You just can’t fly off and leave a body” (Morrison, 1977, p. 332). This critiques selfish flight, questioning if freedom justifies harming others. These elements advance the thesis, showing flight’s progression toward maturity while highlighting its moral ambiguities.
Mature Flight and Feminine Perspectives: Transcendence and Grounded Freedom
In the novel’s climax, Milkman achieves “mature flight” during his leap: “If you surrendered to the air, you could ride it” (Morrison, 1977, p. 337). Unlike Smith’s Icarus-like fall, this ambiguous act—potentially literal flight or death—represents acceptance and spiritual growth, fulfilling the motif’s evolution.
Feminine perspectives offer an alternative: “Without ever leaving the ground, she could fly” (Morrison, 1977, p. 336), describing Pilate’s emotional freedom. Women like Pilate embody grounded transcendence, contrasting male escapist flights and suggesting flight as internal liberation (Wilentz, 1992). This enriches the thesis, illustrating how flight fosters identity without physical departure, though it risks illusion if not balanced.
Conclusion
In summary, the motif of flight in Song of Solomon evolves from illusion and escapism, as seen in Smith’s fall and Milkman’s early desires, to ancestral liberation and mature transcendence in the novel’s myths and climax. Referencing the Icarus parallel underscores the perils of false flight, while feminine views highlight grounded alternatives. This progression reflects broader themes of African American identity and freedom’s costs, urging readers to consider cultural heritage’s role in personal growth. Ultimately, Morrison’s motif invites reflection on whether true flight lies in surrender or rooted resilience, with implications for understanding oppression’s lingering effects.
References
- Bulfinch, T. (1855) The Age of Fable; or, Stories of Gods and Heroes. Sanborn, Carter and Bazin.
- LeClair, T. (1981) ‘The Language Must Not Sweat: A Conversation with Toni Morrison’, New Republic, 21 March, pp. 25-29.
- Morrison, T. (1977) Song of Solomon. Alfred A. Knopf.
- Wilentz, G. (1992) Binding Cultures: Black Women Writers in Africa and the Diaspora. Indiana University Press.
