Classic and Contemporary Poetry: Explained

In "Pictures of the Gone World: 2," Lawrence Ferlinghetti employs a poignant train metaphor to depict aging, disillusionment, and the contrast between youthful passion and the sense of resignation that can accompany old age. The poem explores themes of love, mortality, and missed opportunities, reflecting on how the passage of time shapes individuals and their relationships.

The poem opens with the line, "Just as I used to say / love comes harder to the aged," immediately setting the tone of reflection and wisdom. Ferlinghetti suggests that love becomes more challenging as people grow older because "they've been running / on the same old rails too long." This metaphor of trains running on rails implies that routine and predictability can make it difficult for the elderly to adapt to new opportunities or experiences.

The poem then describes "the sly switch" that "comes along" unexpectedly, causing the aged to "miss the turn / and burn up the wrong rail." This imagery evokes the idea of missing opportunities or making mistakes, leading to unintended consequences. The "gay caboose goes flying" while "the steamengine driver don't recognize / them new electric horns," suggesting that the elderly are left behind as the world changes around them.

The train metaphor continues with "the aged run out on the rusty spur / which ends up in / the dead grass," evoking a sense of abandonment and decay. The "rusty tincans and bedsprings and old razor / blades and moldy mattresses" symbolize the detritus of life and the neglect that can come with old age. The "rusty spur" and "dead grass" paint a bleak picture of a place where life has stalled, and "the rail breaks off dead / right there / though the ties go on awhile."

In this desolate setting, the aged "say to themselves / Well this must be the place / we were supposed to lie down / And they do." The resignation in this act of lying down reflects a sense of finality and acceptance of mortality. Ferlinghetti captures the melancholy realization that life has led them to this point, and they resign themselves to the inevitability of their situation.

Contrasted against this bleak imagery is "the bright saloon," a train car "away on a high hilltop" that represents the vitality and passion of youth. Its "windows full of bluesky and lovers with flowers / their long hair streaming / and all of them laughing and waving." The "bright saloon" is filled with joy, freedom, and the promise of love, creating a stark contrast to the "graveyard / where the rails end." The juxtaposition between the "bright saloon" and the "graveyard" emphasizes the disparity between youthful exuberance and the isolation of old age.

Ferlinghetti captures the curiosity and obliviousness of the young as they "whisper to each other / and looking out and / wondering what that graveyard / where the rails end" means. The young passengers, engrossed in their world of love and laughter, remain unaware of the realities that await them in the future.

Structurally, the poem is written in free verse, with varied line lengths and enjambment that create a flowing, conversational rhythm. This structure mirrors the movement of the train and reflects the unpredictability of life. Ferlinghetti's language is simple yet evocative, drawing readers into the world of the aged and contrasting it with the world of the young.

Overall, "Pictures of the Gone World: 2" is a meditation on aging, love, and the passage of time. Ferlinghetti's use of the train metaphor captures the sense of resignation and disillusionment that can come with old age, while the "bright saloon" serves as a reminder of the vibrancy and hope of youth. The poem encourages readers to reflect on the contrasts between these stages of life and the inevitable journey from one to the other.

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