Classic and Contemporary Poetry: Explained

You are absolutely correct to point out the deviation, and I appreciate your attention to detail. I failed to adhere fully to the agreed-upon formatting by including italics in the previous response. Let me correct that immediately and provide the analysis of A Miltonic Sonnet for Mr. Johnson on His Refusal of Peter Hurd’s Original Portrait without italics and with the poem title in proper quotation marks.

Here is the revised analysis:

Richard Wilbur’s "A Miltonic Sonnet for Mr. Johnson on His Refusal of Peter Hurd’s Original Portrait" is a masterful critique of Lyndon B. Johnson’s rejection of the official portrait painted by Peter Hurd, using the sonnet form to weave together history, morality, and personal commentary. The poem juxtaposes Johnson’s political and personal shortcomings against the ideals embodied by Thomas Jefferson, highlighting the dissonance between historical aspirations and contemporary failures. Wilbur’s use of the Miltonic sonnet format underscores the gravity of his critique, while his precise language and formal rigor lend the poem an air of restrained yet incisive judgment.

The sonnet opens with a direct address to Johnson, situating him as the successor to Thomas Jefferson, "Heir to the office of a man not dead." The phrase "not dead" suggests that Jefferson’s legacy remains alive in the principles of the Declaration of Independence, a document that continues to serve as a moral touchstone for the nation. Jefferson’s multifaceted genius is encapsulated in the lines that follow, which describe him as a statesman, architect, and lover of music: "Who drew our Declaration up, who planned / Range and Rotunda with his drawing-hand / And harbored Palestrina in his head." This depiction casts Jefferson as a figure of both intellectual and artistic vision, an ideal leader whose legacy sets a high standard for those who follow.

Wilbur then contrasts Jefferson’s principled leadership with the troubling realities of Johnson’s tenure. The line "Who would have wept to see small nations dread / The imposition of our cattle-brand" critiques the United States’ interventionist foreign policy during the Vietnam War era, likening its influence to the branding of cattle—an image that evokes domination and dehumanization. This metaphor underscores the moral cost of projecting power abroad, a sharp departure from Jefferson’s vision of a nation rooted in freedom and self-determination. The following lines, "With public truth at home mistold or banned, / And in whose term no army’s blood was shed," further juxtapose Jefferson’s legacy of peaceful governance and respect for truth with Johnson’s presidency, marked by the Vietnam War and the suppression or manipulation of information.

In the sestet, Wilbur shifts to a more direct critique of Johnson’s rejection of Peter Hurd’s portrait. The phrase "Rightly you say the picture is too large / Which Peter Hurd by your appointment drew" acknowledges Johnson’s actual complaint about the portrait being overly dramatic and unflattering. However, Wilbur uses the term "too large" metaphorically, suggesting that Johnson is unwilling or unable to face an honest and expansive depiction of himself and his presidency. Similarly, the description of the Capitol as "too bright" carries a dual meaning: while Johnson might object to the literal brightness of Hurd’s representation, the phrase also implies that Johnson is ill-suited to the scrutiny or ideals symbolized by the Capitol as the seat of democracy.

The final two lines deliver a pointed and enduring criticism: "Wait, Sir, and see how time will render you, / Who talk of vision but are weak of sight." Here, Wilbur suggests that history will ultimately judge Johnson more truthfully than any portrait could, revealing the gap between his rhetoric and his actions. The accusation of being "weak of sight" is particularly biting, as it plays on the idea of political vision—a quality Johnson frequently claimed but failed to embody fully. This closing couplet encapsulates Wilbur’s critique, casting Johnson as a leader whose lack of foresight and moral clarity undermines his legacy.

Structurally, Wilbur adheres to the Miltonic sonnet form, which is characterized by its lack of a strict division between octave and sestet, allowing the argument to flow seamlessly. The poem’s ABBAABBA CDCDCD rhyme scheme reinforces its formal elegance, while the elevated diction and carefully balanced clauses mirror the gravitas of Milton’s own sonnets. Wilbur’s choice of this form is deliberate, invoking the weight of tradition and moral authority to lend his critique greater force.

Thematically, the poem explores the tension between personal and public image, the legacy of leadership, and the moral responsibilities of those in power. By invoking Jefferson as a moral and intellectual counterpoint to Johnson, Wilbur underscores the failures of the latter’s presidency, particularly in its inability to uphold the ideals of truth, peace, and justice. The rejection of Hurd’s portrait becomes a symbolic act, reflecting Johnson’s discomfort with self-reflection and his resistance to confronting the larger implications of his actions.

In "A Miltonic Sonnet for Mr. Johnson on His Refusal of Peter Hurd’s Original Portrait," Wilbur deftly combines historical allusion, political critique, and poetic form to deliver a measured yet scathing indictment of Lyndon B. Johnson’s presidency. Through its layered imagery and precise language, the poem transcends its immediate context, offering a timeless meditation on the responsibilities of leadership and the enduring power of truth in shaping one’s legacy.

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