|
|
Classic and Contemporary Poetry: Explained | |||
"How Grasp Green" by Dean Young is a reflective meditation on nature, life, death, and the cycle of existence, interwoven with personal anecdotes that highlight the poet's deep connection to the earth and its ever-changing beauty. The poem is a journey through memories of planting trees, each with its own story and significance, serving as markers of time, loss, and transformation. Through these vignettes, Young explores the themes of resilience, the impact of human actions on the natural world, and the philosophical musings on the afterlife and our place within the cosmos. The opening lines introduce the act of planting an ash tree over the poet's deceased cat in Bloomington, which, six years later, has grown "bent but huge and full of mockingbirds." This image sets the tone for the poem, suggesting the continuity of life and the way in which the living commemorate the dead, imbuing our acts of planting and nurturing with deeper meanings and connections to those we've lost. The mention of the tree being "full of mockingbirds" adds a layer of life, sound, and activity, suggesting the vibrancy of existence that continues in the face of loss. Young's query, "Why not when we die, we come back as myriad-minded?" introduces a speculative, almost whimsical consideration of the afterlife, hinting at a desire for transformation and a multiplicity of experiences beyond death. This line bridges the concrete act of planting trees with more abstract philosophical pondering, expanding the poem's scope to encompass existential questions. The narrative of the blossoming pears that only flourished after the poet sold his house speaks to the unpredictable nature of growth and the irony often found in life's timing. It also touches on the theme of attachment and the transient nature of our interactions with the natural world, suggesting that the fruits of our labor are not always ours to enjoy. Young's exploration of the afterlife as "opaque" and the mention of prepositions being "hopeful" serve as linguistic reflections on the unknown aspects of existence and our attempts to navigate and make sense of them. These lines ponder the limits of language and understanding when faced with the mysteries of life and death. The poem shifts to a more somber tone with the recounting of the Japanese cherry tree's fate, emphasizing the brutality of nature and the cycle of life and death. The starvation of rabbits and deer, leading them to destroy the carefully tended tree, underscores the harsh realities of survival and the interconnectedness of all living beings. This section starkly portrays the struggle between human attempts to create beauty and the unforgiving force of nature's instincts. Despite the acknowledgment of brutality, Young also highlights the resilience and hidden strengths within nature, such as the "mercy of hidden green bark" and the potential for growth and protection in the planting of furs that will become a living fence. These images offer a sense of hope and renewal, suggesting that even in the face of destruction, there is the capacity for regeneration and shelter. The poem concludes with the poet wandering a temple, a metaphorical space that suggests a quest for understanding and peace amidst the complexities of life and the natural world. This final image encapsulates the poem's themes of searching, reflection, and the spiritual connection to the environment, inviting readers to contemplate their own relationship with nature and the cycle of existence. In "How Grasp Green," Dean Young crafts a poignant and layered narrative that weaves together personal memory, natural imagery, and existential inquiry. The poem is a testament to the beauty and brutality of life, the enduring questions of existence, and the profound connections between the human spirit and the natural world.
| Discover our Poem Explanations and Poet Analyses!Other Poems of Interest...CHORUS FROM OEDIPUS AT COLONOS by ANTHONY HECHT WISE MEN IN THEIR BAD HOURS by ROBINSON JEFFERS READING ALOUD TO MY FATHER by JANE KENYON |
| |