Classic and Contemporary Poetry: Explained

In "I Saw, From Under Him", Charles Olson engages in a brief but striking exploration of perception, creation, and the figure of a father within the cosmic scope of existence. This poem’s concise language and abstract imagery evoke a sense of primal witnessing—a glimpse into the foundational structure of the universe or a divine consciousness, seen from a subordinate position. The “Him” in the title likely alludes to a godlike or paternal figure, casting a shadow or presence so vast and encompassing that the speaker observes from beneath, catching sight of something immense and elemental.

The poem opens with the speaker observing “from under Him,” suggesting a position of humility or deference. This perspective frames the speaker as small or insignificant in comparison to the figure above, aligning with themes of cosmic scale that Olson frequently explored. This line sets a scene that is both metaphysical and hierarchical, with “Him” as the source of power or creative force, while the speaker occupies a position from which he can observe the unfolding of a grand design.

Olson then describes witnessing the “beginning of the web of God.” Here, the “web” may symbolize interconnectedness, the intricate structure of the universe, or the interwoven threads of existence. The “beginning” suggests a moment of origin or creation—a point at which the complexity of the world is just beginning to unfold. The web, often a symbol of connectivity and entanglement, evokes the idea of a structured universe where all elements are intertwined. This moment of inception reflects Olson’s fascination with the foundations of existence and the possibility of perceiving creation as it takes shape, hinting at a vision that is almost mystical in nature.

The phrase “exordial colors” introduces an image of fundamental or primal hues, suggesting that even color—an essential component of visual experience—is a foundational element in the creation of existence. “Exordial” implies something belonging to the beginning or the initial stage, reinforcing the sense that the speaker is witnessing the earliest formation of reality, where even colors have an original, almost sacred quality. Olson’s choice of “colors” can be seen as both literal and symbolic; in a more abstract sense, these colors could represent the diverse components of existence or the variety of forces that are necessary for creation. This attention to elemental detail mirrors Olson’s interest in “Projective Verse” and his belief that language and perception should be rooted in the physical and the real.

The final lines, “necessary / for a father to be a male,” introduce a thematic shift, turning from the cosmic to the specific, from universal creation to the qualities of masculinity and fatherhood. This reference to a “father” links the divine or creative force to a paternal figure, suggesting that these exordial colors, the very building blocks of creation, are essential for establishing the role or identity of a father as a distinctly “male” presence. Olson’s use of “necessary” implies an inherent need or fundamental requirement in the act of creation—a suggestion that the masculine or paternal role carries a significance that is both existential and symbolic. The invocation of “male” also suggests a balance between creation and procreation, tying the act of creation to the identity of a father figure who embodies authority, guidance, and generative power.

In these few lines, Olson manages to touch upon vast themes, including the origins of the universe, the nature of perception, and the intersection between divinity and masculinity. The poem is both metaphysical and deeply personal, using the image of a paternal figure to meditate on the relationship between creator and creation, observer and observed. Olson’s sparse language and layered imagery convey a sense of reverence and awe, as if the speaker is privy to a secret or sacred knowledge about the foundational forces that govern existence.

Ultimately, "I Saw, From Under Him" captures a moment of revelation, where the speaker, positioned beneath a divine or paternal figure, glimpses the essential structures of the universe and the components that define identity and creation. In viewing the “web of God” and the “exordial colors,” Olson suggests that to understand existence is to confront both the vast, interconnected nature of reality and the fundamental roles that shape it. This brief poem thus serves as a meditation on perception, masculinity, and the spiritual underpinnings of creation, embodying Olson’s continual pursuit of understanding the deeper forces that shape both the individual and the cosmos.

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