Classic and Contemporary Poetry: Explained

Linda Pastan's poem "Overture" gracefully intertwines the language of music with the sensations and emotions of memory, leading readers through a reflective journey that echoes the structure and impact of a musical performance. The poem uses the metaphor of an overture—a piece of music that serves as an introduction to an opera or a symphony—to explore themes of memory, anticipation, and the inevitability of time.

The poem opens with a gentle, inviting image: "This is the way it begins: the small sure voice of the woodwind leads us down a path brocaded with colored leaves, deep into a forest we almost remember." This introduction sets the tone for the entire poem, with the "small sure voice of the woodwind" representing the initial notes of a musical piece that guides the listener into a familiar yet mysterious place. The path "brocaded with colored leaves" evokes the richness and beauty of autumn, a season often associated with change and reflection. The mention of a forest "we almost remember" suggests that the experience the poem is about to unfold is rooted in the deep, possibly forgotten parts of the mind, where memories and emotions reside.

As the poem progresses, it introduces the percussions, noting that they "have no exact equivalent," but soon lead the mind to thoughts of weather or applause. The percussions, often representing rhythm and movement, evoke the sense of something impending—perhaps a "cold front rumbling in" or the distant sound of applause, which might signal recognition or an ending. The ambiguity of these sounds mirrors the uncertainty of interpreting our own emotions and memories, as well as the way music can evoke different, sometimes conflicting, images and feelings.

The poem then shifts to a more visual and metaphorical description: "not for the self but for someone we watch bowing at the edge of a pond whose waters, like the cello's darkest waters, part letting the melody slip through." Here, the image of a figure bowing at a pond introduces the idea of reverence or acknowledgment of something greater than oneself. The "cello's darkest waters" symbolize the depth and resonance of both music and memory, suggesting that the melody, like a hidden emotion, emerges from these deep, dark places.

The theme, which "presents itself so shyly," is a recurring motif in the poem, representing a memory or emotion that initially appears faint or elusive but gradually gains strength and clarity. When it "returns full grown," it triggers a sense of recognition—"plucks the live nerve of recollection"—yet it is still perceived "as if for the first time." This paradox reflects the way familiar emotions or memories can surprise us anew each time they resurface, a testament to their enduring power and significance.

Pastan reminds us, however, that "this is only music," gently grounding the reader in the reality that, despite its profound impact, music is an art form that operates within the realm of the ephemeral. The transition to a "minor key" suggests a shift in tone, possibly towards melancholy or introspection, as the evening shades deepen.

The poem's closing lines introduce a striking image: "Whole flocks of birds rush up spreading their night wings as the harpist, that angel who guarded the gates in strict black, sweeps her arm from E to G to high C, and the bowing stranger lifts his wand, letting the curtains part." The birds, with their "night wings," symbolize the onset of night or the arrival of something unknown. The harpist, likened to an angel in "strict black," adds a solemn, almost sacred quality to the scene, underscoring the seriousness and beauty of the moment. Her sweeping arm, moving through the notes, mirrors the act of opening a door or revealing something hidden, as does the "bowing stranger" who "lifts his wand" to part the curtains.

The imagery of the curtains parting at the poem's end suggests a beginning or a revelation, as if the overture has ended and the true performance—or the deeper exploration of memory and emotion—is about to commence. This moment of anticipation encapsulates the essence of an overture: a prelude that sets the stage for what is to come, both in music and in life.

"Overture" is a meditation on the interplay between music, memory, and emotion, capturing the way music can evoke powerful and sometimes unexpected responses. Through its rich imagery and careful structure, the poem mirrors the experience of listening to an overture—an experience marked by subtlety, depth, and the promise of something more profound just beyond the curtain.

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