Classic and Contemporary Poetry: Explained

In "Portrait of the Artist as a Young Clarinetist," William Matthews reflects on his youthful experience as a clarinet player, weaving themes of inadequacy, aspiration, and the pursuit of joy through music. The poem is structured in a villanelle form, a repetitive and cyclical structure that mirrors the persistent, if somewhat futile, efforts of the young musician.

Matthews begins with a candid self-assessment: "I was a dull musician as a boy— / I sucked a reed as if it were a thumb." This line sets a tone of self-deprecation and humor, acknowledging his lack of skill. The metaphor of sucking a reed like a thumb suggests both immaturity and a desire for comfort, perhaps highlighting his tentative approach to the instrument. Despite this, the poet questions whether this made him "mute," suggesting that the ability to express oneself might transcend technical skill.

The poem explores the concept of "strangled joy," a phrase that captures the frustration and imperfect realization of musical aspiration. This "strangled joy" is described as a "burbled" feeling, hinting at an undercurrent of emotion that music could potentially release if not hindered by his limitations. The repetition of the line "I was a bad musician as a boy" reinforces the poet's acknowledgment of his shortcomings while also underscoring the youthful grandiosity inherent in the phrase "le jazz, c'est moi." This grand statement, despite its irony, reflects the common youthful belief in one's potential and the dream of embodying greatness.

Matthews continues to reflect on the discrepancy between his aspirations and reality: "No matter that this kingdom didn't come / because I couldn't toot my strangled joy." The use of "kingdom" metaphorically represents the idealized world of music and achievement he longed for, which remained out of reach due to his technical limitations. The repeated phrase "strangled joy" serves as a motif throughout the poem, emphasizing the dissonance between his desires and his abilities.

The speaker's experiences with his clarinet teacher are recounted with a mix of humor and melancholy. The teacher's admonition, "The clarinet, young man, is not a toy," reflects a moment of frustration with the speaker's lack of seriousness or skill. This moment encapsulates the struggle between the discipline required to master an instrument and the casual, playful approach of a child. The teacher's exasperation contrasts with the speaker's persistent, if inept, efforts.

The poem closes with a reflection on the qualities that ultimately allowed joy to grow: "work, patience and melancholy." Matthews suggests that these elements, along with his stubbornness, were crucial in the development of his musical and perhaps broader artistic sensibilities. The villanelle's repeating lines reinforce the cyclical nature of learning and the recurring feelings of inadequacy and aspiration. The final line, "a poor musician even as a boy, / and destitute before my strangled joy," encapsulates the poet's acknowledgment of his humble beginnings and the persistent yet unfulfilled longing for musical expression.

"Portrait of the Artist as a Young Clarinetist" is a nuanced exploration of the gap between aspiration and reality, especially in the context of artistic pursuits. Matthews uses the villanelle's form to underscore the repetitive, often frustrating nature of practice and self-improvement. The poem humorously yet poignantly captures the struggle of a young musician grappling with the limitations of skill and the intensity of unexpressed emotion. Through this reflection, Matthews explores broader themes of ambition, self-awareness, and the sometimes bittersweet nature of pursuing an art form.

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