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Classic and Contemporary Poetry: Explained | |||
The poem opens with a reflection on dissatisfaction with life, immediately setting a tone of existential inquiry that pervades the text: "Not liking what life has in it." This opening line, coupled with the subsequent dialogue about the presumed death of an unspecified entity, introduces a meditation on mortality and the search for significance in a seemingly indifferent universe. The mention of "one spot on the ground" and its collective importance suggests a shared human quest to find meaning in the physical and ephemeral aspects of existence. Ashbery's use of the "reasonable, filleted / Nymph of the fashions of the air" as a symbol for transient beauty and fleeting cultural norms points to the poem's critique of superficiality and the human tendency to seek solace in the temporary. The assertion that "We are all / Friends here" and the promise of a solution to "the mess we’re in" reflects a yearning for unity and understanding amidst chaos and fragmentation. The poem's middle sections, with references to architecture, history, and jurisprudence, evoke a sense of permanence and stability in contrast to the earlier themes of transience and uncertainty. The image of tepees "cast in stone" and the preservation of "friezes, of Merovingian thrust" symbolize the human endeavor to immortalize the fleeting moments of history and culture, an attempt to anchor the fluidity of life in the solid forms of art and architecture. However, Ashbery quickly undermines this search for permanence with the admission, "Now if only I were a noncombatant—" signaling a return to the personal and subjective experience of the world. The juxtaposition of philosophers, pedants, and criminals with the everyday experience of walking "arm in arm" through the "darkling purple air of spring" illustrates the poem's oscillation between the abstract and the concrete, the universal and the intimately personal. The poem's conclusion, pondering the inevitability of parting and the persistence of loneliness, circles back to the theme of human connection and the limits of understanding. The final lines, "That it’s a matter of not choosing to see," suggest a deliberate avoidance or denial of certain truths about existence, proposing that perception is as much about what we choose to ignore as what we choose to acknowledge. Structurally, "Wet Are the Boards" is emblematic of Ashbery's free verse, eschewing consistent meter and rhyme for a more fluid, conversational rhythm that allows for the poem's associative leaps and thematic digressions. This structural choice mirrors the poem's exploration of the fluid boundaries between reality and perception, the past and the present, the individual and the collective. Stylistically, Ashbery's poem is marked by its rich, evocative imagery and its blending of colloquial and elevated language. His allusions to history, literature, and art serve to deepen the poem's thematic resonance, inviting readers to navigate the layers of meaning and interpretation that characterize much of his work. In the broader context of postmodern literature, "Wet Are the Boards" reflects the movement's preoccupation with questions of meaning, identity, and the instability of language. Ashbery's poem engages with these themes through its nuanced exploration of human consciousness, challenging readers to confront the complexities of the world with both skepticism and wonder. In conclusion, "Wet Are the Boards" by John Ashbery is a profound meditation on the human condition, weaving together themes of mortality, history, and perception in a tapestry of poetic language and imagery. Through its intricate structure and thematic depth, the poem invites readers into a reflective engagement with the world, offering a glimpse into the rich, multifaceted landscape of Ashbery's poetic imagination.
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