Classic and Contemporary Poetry: Explained

Albert Goldbarth’s poem "Units" delves into the intricacies of measuring pain, exploring how it resists quantification and transcends simple comparisons. Through the metaphorical lens of renowned painters, everyday objects, and personal reflections, Goldbarth examines the subjective nature of pain and the human attempts to understand and communicate it.

The poem begins by challenging the notion of quantifying artistic merit: "We could say that Rembrandt was a greater painter than Kandinsky. We could not say that Rembrandt was three and a half times better than Kandinsky." This comparison sets the stage for the central argument that some aspects of human experience, like art and pain, cannot be easily measured or compared using numerical values. The absurdity of saying "I have nine dols of pain" illustrates how attempting to quantify pain in such a precise manner results in nonsense.

Goldbarth then offers a series of vivid metaphors to depict different forms and perceptions of pain. The image of pain fitting "in a tea ball" or packed "in a pipe" as "a plug of pungent shag-cut pain" brings a tangible, almost tactile quality to the abstract concept of pain. This approach makes the intangible feel more immediate and real. The description of pain being poured "down the city sewers" where it would harden and crack the pipes evokes the relentless and pervasive nature of certain kinds of suffering, suggesting that no matter how much pain is expelled, there is always more.

The poem acknowledges the diverse ways pain manifests and is measured. Some pain demands litigation, implying a need for formal recognition and reparation, while for others, "the glint of the lamp / in a single called-forth tear is enough." This contrast highlights how pain can be both intensely personal and universally recognized, yet still remain elusive in its true scope and impact.

Goldbarth uses the analogy of Rembrandt’s self-portraits to illustrate the evolution and depth of personal pain. By tracing the changes in Rembrandt’s face over forty years, the poem shows how pain can become a familiar, almost comfortable companion: "a kind of pain / so comfortable it's worn, at the last, / like a favorite robe." This metaphor conveys how long-term suffering can become an integral part of one’s identity, deeply intertwined with one’s self-perception and outward expression.

In the poem’s latter half, the focus shifts to a woman in a library, contemplating Rembrandt's work. Her unknown pain becomes a symbol of the countless unquantifiable sufferings experienced by individuals. Goldbarth underscores the difficulty of truly knowing and measuring another person's pain: "What's / her pain? her ohm, her acreage, her baker's dozen, / of actual on-your-knees-in-the-abattoir misery? / I don't know." This admission emphasizes the poem’s central theme—that pain, like art, eludes precise measurement and comparison.

The poem concludes with a powerful image of Rembrandt staring at the moon, his forlornness merging with the sounds of Amsterdam night and dawn. This scene is paralleled by a woman in Kansas facing the sky, late for her appointment for a "daily injection of nine c.c.'s of undiluted dol." This juxtaposition connects past and present, art and life, highlighting the continuity of human suffering across time and space. The woman’s injection, a measured dose of pain, contrasts with the poem's overarching message about the immeasurability of true pain, reinforcing the idea that while we can attempt to quantify and manage pain, its true essence often lies beyond our reach.

"Units" by Albert Goldbarth masterfully explores the complexities of pain, using rich metaphors and poignant reflections to illustrate how pain defies simple quantification. The poem invites readers to consider the subjective nature of suffering and the ways in which we attempt, often futilely, to understand and communicate it. Through its evocative imagery and profound insights, "Units" underscores the deeply personal and universally resonant nature of pain.

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