Classic and Contemporary Poetry: Explained

William Matthews' poem "Sympathetic" delves into the universal themes of recognition, deception, and self-awareness through the lens of Akira Kurosawa's film *Throne of Blood*. Using the tragic fall of Macbeth as a metaphor, Matthews explores the human condition and the inherent blindness that often accompanies our actions and decisions.

The poem begins with a vivid description of a pivotal scene from *Throne of Blood*: "In Throne of Blood, when they come to kill / Macbeth, the screen goes white. No sound." This initial imagery sets a stark and haunting tone, emphasizing the sudden and disorienting nature of the moment. The white screen and silence create an atmosphere of suspense and ambiguity, mirroring the confusion and foreboding in the narrative.

Matthews captures the audience's reaction: "It could be that the film has broken, / so some of us look back at the booth." This reflexive action underscores the uncertainty and disconnection experienced by the viewers, who momentarily step out of the story to question the reality of what they are witnessing. The shift from the tangible to the ethereal is further emphasized as the screen fills with fog: "but it's fog on the screen, and from it, / first in one corner and then in another, / sprigs bristle."

As the assassins advance, camouflaged by "pine boughs," the poem highlights the convergence of the literal and metaphorical fog: "we're already fogged in by the story." This dual layering of fog symbolizes both the physical obscurity in the scene and the moral and psychological murkiness that clouds the characters' judgments. The famous prophecy from Shakespeare's *Macbeth*—Birnam Wood coming to Dunsinane—is reenacted, signifying the inescapable fulfillment of fate.

The poem's focus then shifts to Macbeth's demise: "Even in Japanese, tragedy works: / he seems to extrude the arrows that kill him—he's like a pincushion—." This comparison of Macbeth to a pincushion, bristling with arrows, poignantly illustrates his vulnerability and the culmination of his hubris. Matthews deepens this metaphor, suggesting that "as if we grew our failures and topples, / as if there were no larger force than will." This introspective reflection points to the internal nature of human downfall, where our own actions and decisions, rather than external forces, often lead to our ruin.

Matthews continues to unravel the layers of recognition and empathy: "as if his life seemed strange to us until / he gave it up, half-king, half- / porcupine." The transformation of Macbeth into a tragic figure is completed in this moment of death, where he becomes relatable and comprehensible to the audience. The duality of being "half-king, half-porcupine" encapsulates his grandeur and his ultimate fragility, emphasizing the human condition's complexity.

The poem concludes with a powerful and unsettling realization: "We understand. We too were fooled / by the fog and the pines, and didn't / recognize ourselves, until too late, as killers." This closing reflection bridges the gap between the audience and the narrative, drawing a parallel between Macbeth's fate and our own susceptibility to self-deception. The fog and the pines, symbols of confusion and disguise, serve as metaphors for the ways in which we obscure our true intentions and fail to see our culpability until it is too late.

"Sympathetic" by William Matthews is a profound exploration of tragedy, recognition, and the human propensity for self-deception. Through the lens of *Throne of Blood*, Matthews delves into the layers of fog that cloud our understanding, both in the narrative and in our lives. The poem's rich imagery and introspective tone invite readers to reflect on their own actions and the often blurred line between victim and perpetrator, highlighting the timeless and universal nature of tragedy.

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