Classic and Contemporary Poetry: Explained

In "Thoughts to a Concerto of Telemann," Lawrence Ferlinghetti captures the complex emotions and movements evoked by Telemann's music, specifically through the lens of love and longing. By blending musical terminology with metaphor and introspective reflection, Ferlinghetti creates a lyrical meditation on the power of music and its connection to human emotions.

The poem begins with a description of the "curious upward stumbling motion / of the oboe d'amore." The oboe d'amore, an instrument known for its distinctive and warm tone, represents love itself "among the strands of emotion." The "stumbling motion" implies that love is not straightforward or predictable, but rather a series of emotional rises and falls that are often unsteady. Ferlinghetti likens this musical movement to love, capturing the way it ebbs and flows.

"It is as if its motion were not its own at all, / as if these hands had never struck those strings." Here, Ferlinghetti emphasizes the transcendent quality of love and music, suggesting that both have a life and motion of their own, beyond the control of the musician. The phrase "as if these hands had never struck those strings" implies that the musician is merely a conduit for a higher force.

Ferlinghetti extends the metaphor by comparing the experience to puppets moving: "we sing to, swing to / (as puppets do, unbroken)." This comparison suggests that people are moved by love and music in ways they cannot fully control, like puppets pulled by invisible strings. The phrase "unbroken" conveys the resilience and persistence of love despite the difficulties that come with it.

The poem continues with the imagery of musical instruments: "as if we never really meant to be so strung to / those sweet pitches love so frets us to / so tautly so mutely." The metaphor of being "strung" to love like a musical instrument emphasizes the tension and vulnerability that love brings. The "sweet pitches" of love "frets us to" suggests that love pulls us tautly, creating a state of emotional tension and anticipation. The use of "mutely" conveys a sense of silent longing or unspoken desire.

"(Love's bodies laid like harps!)" is a striking image that likens lovers to harps, with their bodies creating harmonious melodies. This metaphor suggests that love is a musical collaboration, where both partners contribute to a shared melody.

Ferlinghetti introduces a sense of longing and melancholy: "and then as if there never were still more unspoken, / as if dumb mind did never grieve among the woodwinds." The idea of "still more unspoken" points to the things left unsaid in love, while "dumb mind" (a mind that cannot speak) reflects the inability to express deep emotions. "Grieve among the woodwinds" further emphasizes this sadness and longing.

The metaphor of a "buried mandolin" reinforces the theme of buried emotions: "as if its chords did never quiver anymore / as in a buried mandolin." The buried mandolin suggests a musical instrument silenced by being hidden away, but whose chords still "quiver" with latent emotions.

Despite this melancholy, Ferlinghetti ends the poem on a hopeful note: "as if that love were hardly in it anymore, / nor sounded in it anymore, / nor heart hear it nor life bear it anymore. / Yet it does, it does!" The repetition of "it does, it does!" affirms that love continues to resonate and endure despite the challenges and difficulties. The insistence that love "does" still sound, that "heart hear it" and "life bear it" celebrates the persistence of love and music.

Overall, "Thoughts to a Concerto of Telemann" is a lyrical meditation on the interplay between love and music. Ferlinghetti uses musical metaphors to explore the complexities of love, capturing both its tensions and joys. Through his vivid imagery and rhythm, he creates a poetic concerto that mirrors the emotional and melodic richness of Telemann's music.

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