Classic and Contemporary Poetry: Explained

In "Da Boyg," Charles Olson presents a cryptic and intriguing exploration of masculinity, helplessness, and the enigmatic nature of the Boyg—a mythical figure from Henrik Ibsen’s "Peer Gynt", symbolizing a nebulous, unconquerable force. Olson’s take on the Boyg diverges from straightforward mythological references, instead delving into a fragmented and idiosyncratic depiction that leaves its interpretation open and layered. By juxtaposing the Boyg’s physical attributes with emotional vulnerability, Olson examines the interplay between external strength and internal struggle.

The poem’s opening, "It ain't a woman he looks like from behind," immediately evokes a sense of ambiguity and refusal of traditional definitions. Olson suggests that the Boyg defies easy categorization or familiar representations; he is not akin to something soft or nurturing, nor does he embody the intimidating grandeur of a lion. The Boyg is singular and self-contained, an entity distinct from both the feminine and traditional symbols of masculine prowess. Olson builds an atmosphere of mystery and alienation around the Boyg, emphasizing the elusiveness of this figure who exists outside of typical archetypes. This rejection of the expected or recognizable sets the tone for the rest of the poem, positioning the Boyg as a concept that is neither entirely monstrous nor wholly understandable.

The line "Meself,” he sez" brings a raw, personal quality to the Boyg’s character. In referring to himself with colloquial language, the Boyg sheds the lofty or mythic connotations typically associated with such figures, grounding him in an earthy, almost comical realism. This phrase suggests that the Boyg, for all his strangeness, possesses a kind of self-awareness or even self-declaration. Olson’s Boyg appears to understand his own nature, which might be marked by vulnerability as much as it is by strangeness or strength. This line blurs the boundary between external perception and internal identity, hinting at a self-reflective quality in the Boyg, who can acknowledge his essence in simple, direct terms.

Olson introduces the notion of "crying his helplessness, asking her to unclasp her knees," which adds a dimension of vulnerability to the Boyg, portraying him as both powerful and paradoxically submissive. In this depiction, the Boyg—despite his otherness and apparent self-reliance—experiences moments of dependence, marked by a yearning for release or relief from an unnamed "her." This line reinforces the Boyg’s humanness, suggesting that even a figure as inscrutable as he is still susceptible to the desire for connection or comfort. By showing the Boyg in this state of need, Olson disrupts the image of him as a purely daunting or isolated force, instead revealing a figure who is not immune to the tender vulnerabilities of life.

The final lines delve into the Boyg’s peculiar physical traits: "big ears, / small eyes, / a hide / and a / tail— / on the front of him." These descriptions emphasize the Boyg’s unconventional appearance, and Olson’s arrangement of these details adds to their surreal quality. The "big ears" and "small eyes" seem disproportionate, possibly symbolizing an imbalance between perception and insight; perhaps the Boyg can hear everything around him, yet he only truly sees or understands a small part of it. The "hide" implies a thickness or roughness, perhaps a layer of protection or emotional armor, while the addition of a "tail— / on the front of him" throws all expectations off balance, presenting a creature that defies anatomy and logic. This peculiar arrangement suggests that the Boyg exists beyond typical physical constraints, embodying an absurd or surreal anatomy that defies natural orientation or order.

Ultimately, Olson’s "Da Boyg" examines a figure who resists clear understanding or classification, embodying both strength and fragility, humor and darkness. The Boyg is shown as an archetype that doesn’t fully align with conventional roles or expectations, embodying an otherness that hints at both alienation and internal struggle. By focusing on these unusual details and placing the Boyg in a position of ambiguity, Olson presents a nuanced exploration of identity that questions the nature of self-perception and the contradictions inherent in existence. The Boyg becomes a metaphor for the parts of the self that are simultaneously powerful and helpless, deeply strange yet uncannily familiar. Through his portrayal of this enigmatic character, Olson invites readers to consider the complexity of inner life and the surreal, often absurd ways in which identity can manifest.

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