Classic and Contemporary Poetry: Explained

In "Applause," Charles Olson engages with themes of sacrifice, selfhood, and the mythic journey toward a true understanding of the self and the universe. The poem begins with the image of a figure, alienated from family and the familiar sources of love, “Out, all the way, without family, without / an immediate object of your love.” This disconnection signals an individual venturing alone into a space where traditional comforts and structures are left behind. Olson's language suggests this figure has set out on a journey, perhaps spiritual or existential, in search of something beyond ordinary human attachments, embodying the archetype of the seeker.

Olson’s tone is philosophical, even contemplative, as he grapples with the nature of sacrifice. He alludes to sacrificial hearts—“the heart of the sacrificed animals”—and reflects on the biblical story of Abraham and Isaac. Here, Olson explores a primal aspect of the human condition: the heart as both the literal and symbolic center of sacrifice. This is not just about physical offering but an offering of one's essence, one's identity. Olson critiques the idea of inherited or imposed sacrifices, advocating instead for self-determined purpose and truth, as seen in “each of us / has to clear himself of his own materials.” Olson calls for an internal clearing away, a stripping down to the self’s core, liberated from inherited expectations or imposed identities.

The poet’s musings lead to the idea that pain and suffering may constitute the essence of life. Olson questions the appearance of reality and the limitations of human understanding: “Are the appearances not what it is, is it not exactly what it looks like?” The line suggests a distrust of surface reality, urging a deeper examination of what lies beneath. Pain, tears, and other human emotions are acknowledged as fundamental yet insufficient in fully capturing the human experience. Olson’s approach is paradoxical; he accepts the reality of suffering while implying that it might be a gateway to deeper understanding or transcendence.

In the third section, Olson introduces a concept of wandering, where self-discovery involves confronting one's internal “self-world.” This “self-world” exploration seems to involve recognizing the symbolic organs of one’s body—the liver, kidney, head, and leg—as parts of one’s identity. The liver as a “shining pool,” the kidney as a “lady who whores,” and the head as a “dandelion” reveal a surreal yet archetypal vision of the self fragmented into symbolic parts, each with its qualities and functions. This vision is reminiscent of mythological journeys where one encounters different parts of oneself as though they were separate entities, each contributing to the larger understanding of the self. Olson’s references to the organs signify various human qualities—courage, sensuality, intellect, and instinct—hinting that a complete self can only be understood by embracing all these dimensions.

Olson’s “kindness in which a cat must die” implies a painful but necessary confrontation with compassion and mortality, symbolizing a paradox of empathy in a world where even kind creatures (like the cat) meet an end. Olson juxtaposes this with the image of a saint who might “engage the god himself,” suggesting that while some may achieve a higher state of divine understanding, the poet sees no “sacred ring achieved.” This absence of divinity or ultimate union points to Olson’s skepticism about human capacity to transcend entirely. The poem grapples with the limitations of human interaction with the divine, and the boundaries imposed by physical existence and language.

The fourth section delves into a world where beauty and understanding are "methodological." Olson celebrates a form of knowledge intrinsic to the body and nature—a knowing that is unmediated by intellect or analytical structures. “Your knowing / is of an order of the blood,” Olson writes, suggesting that there is a visceral, embodied way of knowing the world that goes beyond intellectual comprehension. This knowledge is not conceptual but immediate and intuitive, comparable to a man picking raspberries or observing a fish in shallow waters. Olson’s imagery emphasizes a return to elemental experiences and perceptions, advocating for an unfiltered engagement with the world.

In the final section, Olson contrasts the dancer’s movements with those of a saint. Unlike the saint, who follows a strict moral or spiritual path, the dancer moves freely, “by feet alone,” embodying a sense of bodily knowledge and immediate presence in the world. This distinction underscores Olson’s reverence for direct, lived experience over detached spirituality. The “old heart” that is “glutton, pusher, feeder” represents a raw, primal force within humans, a force that must be acknowledged and integrated rather than offered up to the rigid structures of “any diorite knife of priest or fool.” Olson’s language here emphasizes the vitality and endurance of the human heart, suggesting that true strength comes from embracing this primal force, rather than suppressing it in favor of social or religious conformity.

"Applause" ultimately serves as Olson’s tribute to those who live authentically and engage deeply with the world, those who, rather than retreating into myth or dogma, embrace the visceral reality of life. His tone throughout the poem is challenging, questioning the reader's assumptions about sacrifice, knowledge, and the human experience. By valorizing the direct, bodily knowledge and the dance of life, Olson suggests that true meaning is found not in prescribed beliefs or sacrifices but in one’s individual journey and visceral engagement with existence. This journey is both isolating and universal, as each individual must confront their inner nature, yet it connects us in our shared humanity and mortality.

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