Classic and Contemporary Poetry: Explained

Lawrence Ferlinghetti's poem "Boccioni's Morning And Twilight" meditates on the contrasting visions of the future presented in two paintings by the Italian Futurist artist Umberto Boccioni. Through vivid descriptions and reflective insights, Ferlinghetti explores the optimism and eventual disillusionment of early 20th-century industrialization, revealing the disparity between idealism and reality.

The poem begins with the radiant optimism of Boccioni's "Morning," which Ferlinghetti describes as "the so-bright future." This painting portrays "so-fresh meadows quivering / in the still early light," with the "Naples Yellow sun / very pale upon / draught horses drawing wagons / on wide rutted roads." The language conveys a sense of promise and potential, as "bright figures hurrying / to newborn factories" symbolize progress and industriousness. The "high church tower in the far distance / full of rising sun" further adds to the aura of hope, suggesting that this industrial world still maintains a connection to spirituality.

Ferlinghetti highlights the movement of the "women in white / with bundle under arm" who "hurries toward some / offstage affair." Her urgency embodies the promise of a new day and the opportunities it brings, reflecting the optimism of the Futurist movement, which embraced industrialization and technological progress as harbingers of a glorious future.

However, Ferlinghetti counters this optimism with a critique: "Ah but the Futurists were wrong / in this so-bright picture of a future world / bathed in industrial glory." This assertion signals a shift in tone, emphasizing how the early ideals of Futurism were ultimately betrayed by the harsh realities of industrialization.

The poem then transitions to Boccioni's "Twilight," which depicts "the same sweeping scene" but with a starkly different mood. The "old day heaves a tired sigh / as bent figures limp for home / on dark roads narrowing / to a red horizon." The figures, no longer bright and optimistic, are now weary and bent, embodying the toll that industrialization has taken on the human spirit. The "dark roads narrowing / to a red horizon" create a sense of foreboding, suggesting a world closing in on itself.

In "Twilight," "dumb darkness descends / upon a single stark figure waving farewell / to the trembling future of the world." This lone figure, bidding farewell to the future, symbolizes the disillusionment that accompanies the end of idealistic dreams. The "trembling future of the world" implies a fragile and uncertain tomorrow, starkly contrasting with the bright optimism of "Morning."

Ferlinghetti uses these two paintings to reflect on the arc of the Futurist movement and the broader human experience of the 20th century. The shift from "Morning" to "Twilight" illustrates the journey from hopeful idealism to grim reality, capturing the disillusionment of a generation that saw the promise of industrialization give way to the destruction of war and environmental degradation.

In "Boccioni's Morning And Twilight," Ferlinghetti masterfully captures the contrasting visions of the future through the lens of Boccioni's paintings. By contrasting the optimism of "Morning" with the disillusionment of "Twilight," Ferlinghetti provides a poignant commentary on the unfulfilled promises of progress. The poem serves as a reminder that while technological and industrial advancements may bring hope, they also carry the potential for unforeseen consequences that can profoundly impact the human spirit.

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