Classic and Contemporary Poetry: Explained

David Lehman’s "A History of Modern Poetry" is a wry, self-aware commentary on the evolution of poetic trends, particularly in the latter half of the twentieth century. Written in free verse, the poem follows a conversational and somewhat ironic tone, mirroring the cyclical nature of poetic innovation and conformity.

The poem opens with a simple statement of intent: "The idea was to have a voice of your own, / distinctive, sounding like nobody else." This ideal—the pursuit of originality—has long been the ambition of poets. However, Lehman immediately undercuts it with the ironic twist: "The result was that everybody sounded alike." This paradox underscores one of the central themes of the poem: the way artistic movements, despite striving for individuality, often produce a homogenized aesthetic.

Lehman moves through different phases of modern poetry, critiquing the trends that defined them. The next approach, "The new idea was to get rid of ideas / and substitute images especially the image / of a rock," references Imagism and the tendency toward minimalism and concrete imagery. The "rock capped with snow / or unadorned" is a nod to poets who sought to strip poetry of abstraction, instead anchoring it in stark, tangible images—perhaps an allusion to poets like William Carlos Williams or Ezra Pound.

He humorously ties this poetic movement to popular culture, noting that it preceded the "Pet Rock" craze of the 1980s. This observation positions poetry as both ahead of and at the mercy of cultural shifts, implying that even high art is susceptible to trends and commercialization.

The poem continues, shifting into the next major poetic movement: "The new idea was to make language the subject / because language was an interference pattern / there was no such thing as unmediated discourse." Here, Lehman points to the Language poetry movement, which emerged in the 1970s and 1980s, emphasizing the constructed nature of language and rejecting traditional lyricism. This philosophical turn, influenced by post-structuralist thought, sought to dismantle the illusion of transparent meaning in poetry.

But in the final line, Lehman delivers his most cutting critique: "and the result was that everybody sounded alike." The repetition of this line from earlier in the poem reinforces his central point: no matter how radical or innovative each poetic movement claims to be, they inevitably create a new form of sameness. What begins as an avant-garde rebellion soon turns into a formulaic style, a cycle that repeats across literary history.

Lehman?s poem functions as both an insightful commentary and a playful jab at the self-seriousness of poetic evolution. It suggests that the search for originality is often thwarted by the very nature of artistic movements—what begins as an attempt to break from convention eventually becomes its own rigid convention. The poem’s casual, almost deadpan tone enhances its humor while subtly acknowledging the inescapable patterns of literary history.

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