Classic and Contemporary Poetry: Explained

Donald Justice’s "Dance Lessons of the Thirties" is a hauntingly nostalgic poem that evokes the delicate interplay between art, memory, and loss. Set against the backdrop of a bygone era, it captures the quiet heroism and poignant exile of women who dedicated themselves to teaching dance, a fragile art form, within the constrained world of suburban America. Justice masterfully uses imagery, sound, and tone to create a vivid tableau of the 1930s while reflecting on the ephemeral nature of culture and human connection.

The opening lines establish a sensory-rich atmosphere that immerses the reader in the scene. “Wafts of old incense mixed with Cuban coffee” immediately conjures an air of faded elegance and intimacy. These scents, redolent of ritual and comfort, set the tone for the duality that runs throughout the poem: a mix of the exotic and the mundane, the artistic and the domestic. The summer heat, indicated by the “fan turned,” adds a languorous quality, reinforcing the sense of a world slowed by both physical and emotional weight. Justice further enriches the setting with “(of the buried life) some last aroma,” suggesting that these dance lessons serve as a fleeting connection to something deeper and more vital, now lost to time.

The central focus of the poem is the dance lessons themselves, an activity that balances precariously between grace and awkwardness, success and failure. Justice’s description of the Victrola, “wound down gradually,” mirrors the passage of time and the fading of the era’s vitality. The “last-second dips and twirls” evoke a sense of near mastery, a poignant almost-achievement that underscores the human tendency to fall short of perfection. This dynamic between striving and failing reflects not only the students’ experience but also the larger theme of cultural and personal decline. The lessons, both literal and metaphorical, become a microcosm of an art form that is struggling to maintain relevance in an increasingly modern and pragmatic world.

The poem’s tone shifts as it introduces “those brave ladies who taught us / So much of art.” These women, described as stepping “off to their doom,” emerge as tragic figures, exiles from a world that no longer values the grace and refinement they represent. Justice’s use of the word “doom” imbues their fate with a mythic quality, elevating their ordinary lives to the level of art itself. These women are both creators and victims of a fleeting cultural moment, their dedication to the foxtrot—a dance already becoming passé—highlighting the tension between permanence and transience in art.

The relationship between the women and their daughters adds another layer of complexity to the poem. The image of them “demonstrating the foxtrot with their daughters” suggests a generational continuity, but it also carries a sense of futility. The daughters, like the dance itself, are being groomed for a world that no longer exists, their movements within the “sad and makeshift ballroom” a poignant echo of their mothers’ unfulfilled aspirations. The word “makeshift” underscores the improvised and impermanent nature of their lives, reflecting a larger sense of cultural displacement.

The final line, “O little lost Bohemias of the suburbs!” encapsulates the poem’s central paradox. The term “Bohemias” evokes a world of artistic freedom and rebellion, yet these qualities are muted and constrained within the suburban context. Justice’s use of the exclamation suggests both admiration and lament, acknowledging the bravery of these women while mourning the loss of the vibrant, authentic culture they represent. The juxtaposition of “Bohemias” and “suburbs” highlights the dissonance between their aspirations and their environment, emphasizing the poignancy of their exile.

Throughout the poem, Justice’s use of sound and rhythm mirrors the movements of the dance. The alternating cadence of the lines evokes the rise and fall of a foxtrot, while the occasional enjambment captures the fluidity and unpredictability of the lessons. The interplay between musicality and disruption reflects the bittersweet nature of the subject, as moments of beauty are undercut by the inevitable decline of both the individual and the culture they inhabit.

"Dance Lessons of the Thirties" is ultimately a meditation on the fragility of art and the resilience of those who create it. Through his rich imagery and nuanced portrayal of memory, Justice pays tribute to the women who sought to preserve grace and beauty in an unforgiving world. At the same time, the poem acknowledges the limits of their efforts, recognizing that even the most passionate devotion to art cannot halt the march of time. By capturing this tension with such precision and empathy, Justice transforms a seemingly ordinary scene into a profound exploration of human perseverance and loss.

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