Classic and Contemporary Poetry: Explained

Charles Olson’s "Variations Done for Gerald Van De Wiele: 2. The Charge" continues his exploration of natural and existential themes, weaving together imagery of spring, the passage of time, and the moral imperatives of existence. The poem, marked by Olson?s characteristic density and rhythm, serves as both a reflection on the interconnectedness of life and a direct address to the reader’s responsibilities toward self-awareness and the pursuit of happiness.

The opening lines—"dogwood flakes the green / the petals from the apple-trees fall for the feet to walk on"—evoke a vivid and tactile image of spring. Olson’s focus on the tangible aspects of nature anchors the poem, contrasting the ephemeral beauty of blossoms with the solidity of the earth beneath. The petals, scattered and fleeting, symbolize the transience of life, while their presence underfoot suggests both the grounding and fragility of human existence.

Olson’s description of birds—"so many they are loud, in the afternoon they distract, as so many bees do"—captures the overwhelming abundance of life in spring. The cacophony of birds and bees underscores the vitality and chaos of the season, a sensory overload that both demands attention and mirrors the busyness of human life. The repetition of "so many" amplifies this sense of fullness, creating a rhythmic pulse that echoes the teeming energy of nature.

The shift from morning to night—"With spring one knows today to see that in the morning each thing is separate / but by noon they have melted into each other and by night only crazy things like the full moon and the whippoorwill and us, are busy"—charts the progression of a single day as a microcosm of life’s rhythms. Morning’s clarity gives way to the blending of forms by noon, culminating in the surreal activity of the night. The "whiskered bird" and "nightjar," symbolic of mystery and nocturnal activity, introduce a sense of the uncanny, emphasizing the liminal nature of twilight and the transition into darkness.

The moon, described as "our conversation," becomes a central figure in the poem, representing a shared consciousness and the reflective nature of dialogue. Olson’s anthropomorphizing of the moon as a conversational partner suggests its role as a mediator between the natural and human worlds, a silent observer that both illuminates and questions.

The moon’s voice—or perhaps Olson’s own projected inner monologue—asks probing questions: "what soul isn?t in default? can you afford not to make the magical study which happiness is?" These questions challenge the reader to confront their own failures and hesitations. By framing happiness as a "magical study," Olson elevates it to an almost alchemical pursuit, requiring both dedication and transformation. The idea that "no body and soul are one if they are not wrought in this retort" reinforces the metaphor of alchemy, suggesting that unity and fulfillment are achieved only through deliberate and often difficult processes of change and integration.

The poem’s moral and existential urgency crescendos in the lines: "do you hear the cock when he crows? do you know the charge, that you shall have no envy, that your life has its orders, that the seasons seize you too." The cock’s crow, a recurring symbol in Olson’s work, signifies awakening and renewal, a call to action that demands attention and response. The "charge" is a moral directive, urging the reader to reject envy and embrace the unique trajectory of their life. The seasons, personified as forces that "seize you," underscore the inevitability of time’s passage and the necessity of living in harmony with its cycles.

The final lines—"that otherwise efforts are efforts? And that the hour of your flight will be the hour of your death?"—offer a sobering conclusion. Olson warns against meaningless effort, suggesting that without purpose and alignment with the natural order, human endeavors become futile. The juxtaposition of "flight" and "death" evokes a dual sense of liberation and finality, implying that true freedom comes only in the acceptance of life’s temporality and the inevitability of death.

"The Charge" is both a celebration of spring’s vitality and a meditation on the human condition. Through its vivid imagery and philosophical inquiries, the poem invites readers to confront their own relationship with time, nature, and happiness. Olson’s language, at once lyrical and direct, serves as a reminder that life’s beauty and meaning are found not in avoidance or distraction but in the active engagement with its cycles and challenges.

Copyright (c) 2025 PoetryExplorer

Discover our Poem Explanations and Poet Analyses!

Other Poems of Interest...