Classic and Contemporary Poetry: Explained

In "Second-Best Bed," Howard Nemerov intertwines classical references with literary allusions to create a richly layered reflection on themes of history, legacy, and personal fate. The poem begins by evoking the fall of Troy, a seminal event in classical mythology, and transitions into a meditation on the life and work of a storyteller whose grand narratives are interrupted by personal and domestic realities.

The poem opens with the somber image of Troy's destruction: "Consider now that Troy has burned / -Priam is dead, and Hector dead, / And great Aeneas long since turned / Away seaward with his gods." This sets a historical and mythological backdrop, reminding the reader of the epic tales of heroism and tragedy that define the legacy of Troy. Priam and Hector's deaths, along with Aeneas's departure, mark the end of an era and the beginning of new journeys and stories.

Nemerov then shifts focus to the storyteller: "And figure to yourselves the clown / Who comes with educated word / To illustrate in mask and gown / King Priam's most illustrious son." Here, the "clown" symbolizes the playwright or poet who seeks to recount and dramatize these ancient tales. The use of "mask and gown" suggests the theatrical tradition, where actors bring historical and mythological figures to life on stage. This storyteller aims to capture the grandeur and complexity of the past through performance and poetry.

The poem delves deeper into the storyteller's role: "And will recite of royal fates / Until, infamonized among those potentates / By a messenger from nearer home, / His comedy is compromised." This passage suggests that the storyteller's grand narratives are disrupted by news from his personal life, a reminder that even those who deal in epic tales are not immune to the demands and interruptions of everyday existence.

The mention of "playing the honest Troyan to a girl far gone" introduces a personal and intimate dimension. The storyteller must abandon his lofty endeavors to attend to a more immediate and personal matter, possibly involving love or family. This duality between the grand historical narrative and personal responsibility highlights the tension between public duty and private life.

The poem then transitions to a Shakespearean allusion with the lines: "The wench lived on, if the son died / All Denmark wounded in one bed / Cried vengeance on the lusty bride." This reference to Hamlet underscores themes of betrayal, revenge, and the complexities of familial and romantic relationships. The "lusty bride" and "Denmark wounded in one bed" evoke the tragic consequences of personal actions within the broader context of political and familial drama.

The concluding lines, "Who could not care that there would follow, / After the words of Mercury, songs of Apollo," juxtapose the immediate concerns of human relationships with the timeless, divine nature of artistic creation. Mercury, the messenger of the gods, represents communication and news, while Apollo, the god of music and poetry, symbolizes the enduring power of art. This contrast emphasizes that while personal dramas may seem all-consuming, they are ultimately part of a larger, ongoing tapestry of human experience and artistic expression.

"Second-Best Bed" by Howard Nemerov masterfully weaves together classical and literary references to explore the interplay between grand historical narratives and personal lives. Through vivid imagery and rich allusions, the poem reflects on the enduring nature of storytelling and the inevitable interruptions of everyday life. Nemerov's nuanced portrayal of the storyteller's dual responsibilities invites readers to consider the balance between public duty and private devotion, and the timeless nature of human experience as captured through art and literature.

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