Classic and Contemporary Poetry: Explained

Donald Justice?s "Young Girls Growing Up (1911)" is a poignant meditation on youth, beauty, and the complexities of human connection. Set against the backdrop of 1911, the poem carries an air of nostalgia and restraint, reflecting on the transformation of young girls into poised young women and the fleeting, often inscrutable nature of their interactions with the speaker. Justice, employing his characteristic elegance and sensitivity, creates a narrative that is as much about the speaker?s introspection as it is about the subject of his gaze.

The poem begins with a description of the young girls, whose demeanor has shifted from "scatter[ing] so hopelessly before you" to a newfound confidence. They now engage with the world—and the speaker—with a deliberate grace, "put[ting] an elbow casually / On the piano top and look[ing] quite frankly at you." The physical gesture of leaning on the piano conveys an ease and self-assurance, while their pale reflections "gliding there like swans" evoke an image of ethereal beauty. The comparison to swans underscores their elegance and the fleeting nature of their youth, as swans are both symbols of grace and transient creatures bound to seasons.

Justice carefully captures the complexities of these encounters, where what the speaker says is no longer "lost" on the girls, and they "listen to the end." This attentiveness contrasts with their earlier indifference and marks their transition into young adulthood. Their "heart-shaped chins uplifted" suggests a moment of openness, as if they are on "the point of breaking into song," a metaphor for their readiness to express themselves and step into the world. Yet, this openness is tempered by their ability to withdraw. When they "turn away now," it is done "slowly" and without malice, but their retreat signals the beginning of an emotional distance that becomes a central tension in the poem.

The speaker?s perspective shifts to an imagined moment, where he pictures himself outside "in the avenue below, masked by trees." The scene, lit by the glow of streetlamps, is both romantic and melancholic. The image of the girls "at the window, blotting out the light" evokes a sense of their inaccessibility; they are both present and removed, framed by the constraints of their world and the distance between observer and observed. This dynamic reinforces the theme of separation, as the speaker remains outside, literally and figuratively, looking in.

The poem?s emotional weight deepens as it explores the contradictions in the girls? behavior. When the speaker meets them unexpectedly, they approach him "mournfully, hands outstretched," questioning why he has become a stranger. Yet, when he seeks them out, their demeanor shifts—they "crouch in a window seat and pretend to read," offering "no look to spare" and projecting a sense of cruelty. This oscillation between warmth and indifference captures the capriciousness of youth and the speaker?s inability to fully connect with them. It also reflects the universal struggle to reconcile expectations with reality in relationships.

The final stanza broadens the scope of the poem, suggesting that these interactions are emblematic of a larger existential condition. Justice writes, "And this is why there are men who wander aimlessly through cities! / This is why there are cities, and darkness, and a river." The wandering men, disconnected and searching, mirror the speaker?s own disorientation. The mention of "cities, and darkness, and a river" conjures an urban landscape of alienation, where the natural flow of life (the river) contrasts with the artificial constructs of the city. The river may symbolize the continuity of time and change, while the city embodies the fragmented and transient nature of modern existence.

The concluding lines—"And men who stride along the embankment now, without a plan, / And turn their collars up against the moon"—emphasize the isolation and stoicism of these aimless figures. The moon, often a symbol of beauty and inspiration, here becomes a cold and distant presence against which the men shield themselves. The repetition of "Live, we must try to live, my friends!" is both a rallying cry and a resigned acknowledgment of the difficulty of navigating life’s uncertainties.

Subtitled After Kafka, the poem draws on the existential themes and emotional ambiguity characteristic of Franz Kafka?s work. The interplay between the ordinary and the enigmatic, the emphasis on the speaker’s subjective experience, and the evocation of alienation all resonate with Kafkaesque sensibilities. Justice?s use of a first-person perspective and his focus on the speaker?s inner turmoil further align the poem with Kafka?s exploration of individual struggle within an often incomprehensible world.

Formally, the poem?s free verse structure allows Justice to weave together narrative and reflection seamlessly. The fluidity of the lines mirrors the shifting emotions and thoughts of the speaker, while the lack of a strict rhyme scheme or meter reflects the unpredictability of the girls? behavior and the speaker’s response. The tone oscillates between wistfulness and resignation, capturing both the beauty and the pain of fleeting connections.

"Young Girls Growing Up (1911)" is a masterful exploration of the ephemeral nature of youth, beauty, and human relationships. Through vivid imagery, nuanced characterization, and a deeply introspective voice, Justice creates a poignant meditation on the passage of time and the complexities of desire and loss. The poem’s themes of disconnection and yearning resonate universally, making it a timeless reflection on the human condition.

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