Classic and Contemporary Poetry: Explained

John Frederick Nims’ "As in a Play by Dekker" is a sonnet that playfully contrasts the material utility of shoemaking with the intangible, often unprofitable nature of poetry. The poem adopts a lighthearted but earnest tone, reflecting on the speaker’s yearning for a more concrete trade—one that might allow for both artistic satisfaction and direct, tactile connection with the beloved. The allusion to Thomas Dekker, a playwright known for his depictions of working-class London life, situates the poem within a tradition that values craftsmanship and practical artistry over highbrow literary pursuits.

The opening quatrain sets up the tension between poetry and practicality: "Instead of cobbling out my patchy verses / To catch your eye, I’d rather cobble—shoes!" The pun on "cobbling"—both as a reference to the speaker’s own poetry-writing and to the literal trade of shoemaking—highlights the contrast between the insubstantial nature of verse and the tangible, serviceable craft of working with leather. The self-deprecating "patchy verses" suggests both poetic imperfection and the speaker’s awareness that poetry, however carefully composed, lacks the functional reliability of well-made footwear. The rhetorical question—"Verse serves for—well, for what?"—emphasizes this dilemma. In a world governed by economic necessity, poetry has little transactional value: "It fills no purses; / In the world's strict accounting, pays no dues." These lines reflect a pragmatic, even cynical view of poetry as a pursuit without material gain.

The second quatrain pivots toward the imagined alternative—shoemaking—where "there’s substance for you!" The phrase underscores the solidity and worth of a trade that yields real, physical goods. The speaker envisions a "grubby shoeshop somewhere," its atmosphere "rich / As musk with the sexy redolence of leathers." The sensory language—"musk," "sexy redolence," and "good goop"—imbues the scene with a raw, earthy appeal, celebrating the tangible satisfaction of working with one’s hands. The phrase "wily thread plied stitch on stitch" suggests both skill and patience, reinforcing the idea that shoemaking, like poetry, involves intricate craftsmanship—but with a clear, usable end product.

The volta, or shift in focus, arrives in the third quatrain, where the speaker imagines his beloved as a customer. Here, the stakes of the speaker’s preference for shoemaking become clear: the trade would offer a direct, physical proximity to the person he desires. The fantasy is intimate: "You’d come for yours—best of the perks allowed one— / Plaid skirt aswirl in rhythm, knees in rhyme." The enjambment in "best of the perks allowed one— / Plaid skirt aswirl" creates a pause that heightens the moment of anticipation. The phrase "knees in rhyme" wittily links poetry and physical presence, suggesting that, even in this imagined world of shoemaking, the speaker cannot escape the poetic impulse.

The final couplet delivers the poem’s emotional climax: "Lean close to me, palms fondling them, 'Like new!' / My heart a wild thing as I’d breathe, 'For you!'" The physicality of the scene—the beloved handling the newly repaired shoes—mirrors the deeper desire for connection. The phrase "Like new!" carries a dual significance, referring both to the freshly restored shoes and to the rekindling of affection. The speaker’s whispered response, "For you!" conveys a moment of devotion, as if the act of shoemaking itself is an expression of love.

Structurally, the poem adheres to the Shakespearean sonnet form, with three quatrains developing the central contrast and a concluding couplet delivering the emotional resolution. The rhyme scheme (ABABCDCDEFEFGG) maintains a sense of rhythmic control, reinforcing the speaker’s methodical approach to both poetry and the hypothetical craft of shoemaking. The diction oscillates between colloquial ("druthers," "goop") and refined ("fondling," "plaid skirt aswirl in rhythm"), balancing the speaker’s playful self-awareness with moments of genuine longing.

Ultimately, "As in a Play by Dekker" is both a meditation on the tension between artistic creation and material utility and a love poem disguised as a reflection on labor. The speaker’s wistful musings reveal a deeper desire—not just for a different kind of work, but for a world where his craft (whether poetry or shoemaking) serves as a bridge to intimacy. The irony, of course, is that the poem itself, despite its skepticism about poetry’s worth, is a beautifully crafted testament to the very art it questions.

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