Classic and Contemporary Poetry: Explained

William Matthews' poem "Piano Lessons" explores the often fraught and multifaceted experience of learning music, capturing the tension between the mundane realities of practice and the transcendent potential of music itself. The poem begins with an evocative image: "Sometimes the music is locked / in the earth's body, matter- / of-fact, transforming itself." This metaphor suggests that music, like a natural force, is inherently present in the world, awaiting discovery and transformation through human effort.

The speaker reflects on the seemingly futile nature of this endeavor, likening the pursuit of music to a tautological exercise, as if "music / were weather." This comparison emphasizes the idea that music, like the weather, is a phenomenon that exists independently of human intervention. The practice, represented by "finger-oil on the keys" and "dust in the curtains," becomes a ritualistic activity, a struggle against the "silence / that hates music." The silence here symbolizes the natural state of things, an inertness that resists the creation of sound and art.

Matthews delves into the emotional and relational dynamics involved in learning music, particularly the pressures from "parents / to disappoint" and the "small frauds the teacher is paid / to endure." These lines suggest the weight of expectations and the inevitable shortcomings that accompany any learning process. The phrase "small frauds" hints at the little deceptions and pretenses—perhaps students feigning more understanding or skill than they possess—that are part of the teacher-student dynamic. Despite these challenges, the teacher continues for reasons of her own, implying a dedication to the craft or a belief in the value of music.

The poem acknowledges the often awkward and imperfect renditions of hymns that emerge from these lessons, described as "garbled, ill- / believed hymns." These flawed attempts at music are contrasted with the ideal of divine acceptance, as the speaker imagines a God who "rakes them in and loves them." This image suggests a compassionate, accepting deity who values the earnest efforts of learners, regardless of their imperfections. It reflects a belief in the intrinsic worth of attempting to create music, even if the results are far from perfect.

However, the speaker expresses ambivalence about this divine acceptance, stating, "though I don't want to hear / the jokes God makes to love them / unless I be one of those jokes." This closing sentiment introduces a layer of existential doubt and self-awareness. The speaker recognizes the absurdity and potential futility in striving for artistic expression, likening it to a joke that God might find amusing. The fear of being one of those jokes—a figure of divine humor or pity—underscores a vulnerability inherent in the creative process.

"Piano Lessons" thus captures the complex interplay between the practical aspects of learning an instrument and the larger existential questions it raises. Matthews uses the metaphor of music being "locked in the earth's body" to convey the idea that art and beauty are latent in the world, waiting to be uncovered through human effort. The poem poignantly addresses the struggles and imperfections involved in this pursuit, acknowledging both the personal and interpersonal challenges that come with it.

In the end, the poem suggests that the value of music—and by extension, any form of artistic expression—lies not in perfection but in the sincere effort to connect with something greater. The imagined acceptance by a compassionate deity serves as a metaphor for a broader understanding that embraces the imperfect nature of human endeavors. Matthews' reflection on piano lessons becomes a meditation on the nature of creativity, the pressures of expectations, and the search for meaning in the midst of imperfection and doubt.

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