Classic and Contemporary Poetry: Explained

Maxine Kumin’s "Youth Orchestra, With Dogs" weaves together a tapestry of contrasts—between war and peace, chaos and harmony, and the innocence of youth and the brutal realities of the world. Set against the pastoral and historic backdrop of the University of the South, the poem juxtaposes the purity of music with the violence of global conflict, examining how art and human resilience persist in the face of destruction.

The poem begins with an idyllic scene: a group of young musicians rehearsing outdoors on a sun-dappled lawn. The Gothic arches, “Civil War oaks,” and the rustic imagery of the university grounds evoke a sense of timelessness and tradition. The casual presence of “music-loving mongrels,” described as “mysteriously ownerless,” adds an element of spontaneity and playfulness, suggesting a harmonious coexistence between humans, animals, and nature. Kumin’s choice to include these dogs as part of the scene creates an atmosphere of inclusivity, underscoring the communal nature of the rehearsal.

However, this peaceful setting is underscored by the darker reality of the day?s news: “the day that Sarajevo falls.” This reference to the Bosnian War injects the poem with historical and political weight, contrasting the serenity of the orchestra with the violence and suffering occurring elsewhere. The juxtaposition between the local and the global highlights the dissonance between the insulated world of the young musicians and the devastating realities of war. The phrase “Sarajevo falls” resonates with finality, emphasizing the collapse of a once-thriving city and the human cost of such conflict.

The music itself becomes a metaphor for resilience and imperfection. The rehearsal is marked by starts and stops, with “pages” dropped and “Mahler...ragged.” Yet the young musicians persist, embodying a kind of hopeful determination. The presence of the cicadas, whose “resolute machinery” provides a natural soundtrack, mirrors the relentless passage of time and the cyclical nature of life. Similarly, the dogs’ “deep flank-snufflings” add a grounding, physical dimension to the scene, connecting the ethereal qualities of music to the earthy, animalistic aspects of existence.

Kumin then shifts to a personal reflection, grounding the broader themes of the poem in her own experiences. She recalls her role as a mother and caretaker, ferrying her children and their instruments to rehearsals and rescuing animals “the pound prepared to gas.” These acts of nurturing and protection stand in stark contrast to the indifference and violence described later in the poem. Her mention of a “foster son thrust up by an earlier war” draws a direct connection between her personal life and the larger historical forces at play, suggesting that even in the relative safety of domestic life, one cannot escape the impacts of global conflict.

The voice of a “freelance photographer,” recounting the horrors of war, disrupts the nostalgic tone of Kumin’s memories. The photographer’s exclamation—“god! who cares?”—is a jarring reminder of the desensitization that often accompanies prolonged exposure to suffering. The graphic description of “exploded arms and legs, instant orphans, blown-up pets” starkly contrasts with the gentle imagery of the orchestra, emphasizing the vast gulf between the two worlds. Yet, this juxtaposition also serves to highlight the resilience of the human spirit: even amid devastation, people continue to create, nurture, and find meaning.

The poem circles back to its setting, where evening falls and the “orchestra containing all assembles.” The phrase “containing all” suggests a vision of inclusivity and universality, contrasting with the historical exclusion of “women, Jews, and colored skin” by the institution. The young musicians, representing a more diverse and hopeful future, perform Copland’s Appalachian Spring, a piece synonymous with renewal and optimism. The conductor, described with youthful awkwardness, and the violinist in a “Laura Ashley print” embody the innocence and earnestness of youth, standing as symbols of hope against the darkness of war.

Kumin’s masterful use of juxtaposition drives the poem’s emotional and thematic complexity. The pastoral beauty of the university grounds contrasts with the violence in Sarajevo, while the innocence of the youth orchestra clashes with the graphic imagery of war. These contrasts serve to emphasize the persistence of life and art in the face of destruction, as well as the moral responsibility of those in safe, privileged positions to remain aware of and engaged with the suffering of others.

"Youth Orchestra, With Dogs" is ultimately a meditation on resilience, compassion, and the enduring power of art. Kumin reminds readers that even in times of darkness, there is light in human creativity and connection. By weaving together the local and the global, the personal and the historical, Kumin creates a poignant and layered reflection on the coexistence of beauty and brutality in the human experience.

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