Classic and Contemporary Poetry: Explained

"The March I; For Dwight MacDonald" by Robert Lowell captures a powerful scene of a peace march in Washington, D.C., reflecting on themes of protest, war, and the complexities of civic engagement. The poem conveys a sense of ambivalence and surrealism, contrasting the monumental architecture of the nation's capital with the human experiences of the marchers.

The poem opens with a vivid description of the setting: "Under the too white marmoreal Lincoln Memorial, the too tall marmoreal Washington Obelisk." The repetition of "too" suggests a sense of excess or artificiality, perhaps highlighting the grandiosity and distance of these symbols of American history and ideals. The use of "marmoreal," meaning marble-like, emphasizes the cold, imposing nature of these monuments. The reflecting pool, often a symbol of contemplation and reflection, is described as "too long," reinforcing a sense of overwhelming grandeur and possibly an ironic distance from the reality of the situation.

The natural setting is portrayed with "reddish trees" and a "withering autumn sky," evoking a sense of decay and the passage of time. This imagery contrasts with the "remorseless, amplified harangues for peace," suggesting a disconnect between the lofty rhetoric and the tangible reality. The speaker describes the act of marching: "lovely to lock arms, to march absurdly locked," conveying a mix of camaraderie and the absurdity of the situation. The physical discomfort is noted with the speaker having to unlock arms to adjust wet glasses, a small but significant detail that grounds the experience in the mundane.

The poem shifts to a more personal reflection, noting the "cigarette match quaking in my fingers," a symbol of nervousness or tension. The act of marching "like green Union Army recruits for the first Bull Run" invokes historical parallels, likening the marchers to inexperienced soldiers facing their first battle. The reference to "Bull Run" alludes to the Civil War battle known for the disorganization and chaos experienced by the untrained Union soldiers. This comparison highlights the sense of uncertainty and fear among the marchers, who are stepping into an unknown and potentially hostile situation.

The presence of "photographers, the notables, the girls" suggests a mixture of media attention, notable figures, and bystanders, adding to the spectacle of the event. The march becomes a performance, observed and documented, which may amplify the participants' feelings of self-consciousness and vulnerability.

As the poem progresses, the narrative becomes more chaotic: "fear, glory, chaos, rout ... our green army staggered out on the miles-long green fields." This phrase captures the tumultuous nature of the experience, blending feelings of fear and exhilaration. The description of meeting "the other army, the Martian, the ape, the hero, his new-fangled rifle, his green new steel helmet" introduces a surreal and unsettling image. The "other army" represents the opposing forces or the establishment, depicted as alien, animalistic, and militaristic. The use of "Martian" and "ape" suggests a dehumanization and otherness, while the "hero" with modern weaponry represents a threatening presence.

"The March I; For Dwight MacDonald" captures the complex emotions and experiences of participating in a peace march, set against the backdrop of Washington, D.C.'s monumental architecture. Lowell's use of imagery and historical allusion underscores the tension between ideals and reality, the personal and the political. The poem reflects the ambivalence and surreal quality of public protest, where participants navigate a landscape of fear, hope, and uncertainty, facing both internal and external challenges. Through this work, Lowell conveys a nuanced perspective on the act of marching for peace, highlighting the complexities of civic engagement in a turbulent world.

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