Classic and Contemporary Poetry: Explained

"Eight Variations" by Weldon Kees is a series of interconnected vignettes that explore themes of time, memory, loss, and disillusionment. Each variation offers a distinct yet thematically linked glimpse into different aspects of life, from the personal to the universal, often employing rich imagery and a melancholic tone to underscore the fleeting nature of human experience.

1.

In the first variation, Kees juxtaposes the whimsical past with a mundane present: "Prurient tapirs gamboled on our lawns, / But that was quite some time ago." The tapirs, once playful and exotic, are now replaced by "asthmatic bulldogs, / Sluggish in the hedges, ruminant." This shift reflects the passage of time and the loss of innocence and vitality. The unicorn, a symbol of purity and magic, is "gone," leaving behind a world cluttered with mundane "papers to the street." The repetition of "strikes one" and the comparison to a "sad valise" convey a sense of monotony and weariness, highlighting the erosion of significance over time.

2. Note to Be Left on the Table

This variation takes the form of a letter to a ghost, blending the supernatural with the mundane. The ghost, described as wearing "fright-wigs Burbage might have worn," fails to evoke fear or respect. The speaker addresses the ghost with a mix of exasperation and defiance, suggesting that its haunting is less frightening than the person's life was: "Your life was frightening enough, but this / Poor pallid counterpart who fuddles in its role / Is inexcusable." The speaker demands that the ghost haunt others instead, indicating a desire to move past old fears and traumas. The ultimatum, "I give you until noon," underscores the speaker's resolve to reclaim their space from lingering memories.

3.

In this vignette, ruined travelers symbolize broken dreams and unfulfilled promises. The reference to Rousseau and the anticipation of a new beginning contrast with the harsh reality of a site filled with "posthumous investigations" and "charnal notions." The "solitary midwife" and "hackneyed Christ" in the basement reflect a world where redemption and renewal are elusive. The mention of "tickets" and a "line forms on the right" evokes a sense of bureaucratic inevitability, where even virtue and justice are commodified and preserved in a manner devoid of genuine meaning.

4.

The fourth variation delves into the complexities of personal relationships. The speaker reflects on how time spent with someone reveals "New flaws, new features, new intangibles." The dialogue about past travels and lost work symbolizes the erosion of dreams and the permanence of loss. The lingering scent of perfume initially evokes nostalgia but quickly turns "rank and sharp," highlighting the bitterness of memories that once seemed sweet. The refusal to air the room signifies an unwillingness to let go of the past, despite its decay.

5.

Amid Victorian relics, the speaker is confronted with the passage of time and the futility of nostalgia. The stuffed owls and the moose's "passive eyes" symbolize the lifeless preservation of the past. The diminished furniture and the "hopeful and outmoded smiles" in photographs reflect the stagnation of time. The expectation of nostalgia fails to materialize, and even the moose's stare conveys a sense of incomprehension and fatigue, mirroring the speaker's own disillusionment.

6.

This variation examines the legacy of the past and the indifference of the present. The "graveless of another century" and the bones turned to dust signify forgotten histories. The "idiot highways" and "yellow signs" are symbols of progress that obliterate the past. The dead ancestors' voices are "polished and revised by history," suggesting a sanitized narrative that ignores the true complexity of their lives. The speaker finds solace in being "deaf in a deafening time," choosing to disengage from the clamor of a world that no longer holds true meaning.

7.

The penultimate variation explores the nature of art and memory. The "single eye" and the bowl that once "swelled with light" represent the clarity and inspiration of the past, now overshadowed by "mania." The departure of friends and the model's forgotten story signify the erosion of personal connections and the transient nature of artistic creation. The final image of the stain hidden by the painting suggests the lingering impact of past mistakes and the imperfect attempts to cover them.

8.

In the final variation, Kees reflects on the end of love and beauty. The imagery of beauty "washed away / In impure streams" and becoming "topic for ill-mannered minds" highlights the degradation of cherished memories. The speaker yearns for the return of Spring, a metaphor for renewal and hope, but acknowledges its impossibility. The description of the lover, "tired after love and silent in this house," conveys a deep sense of isolation and resignation. The poem concludes with a poignant image of the lover "standing with one hand raised to smooth your hair, / At a small window, green with rain," capturing the melancholic beauty of a fleeting moment amidst the inevitable passage of time.

"Eight Variations" by Weldon Kees is a masterful exploration of time, memory, and the human condition, woven together through a series of evocative and introspective vignettes. Each variation adds depth to the overarching themes, creating a rich tapestry of reflections on the impermanence of life and the enduring impact of the past.

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