Classic and Contemporary Poetry: Explained

In "For Mac Hammond," Charles Olson addresses themes of poetic structure, divine order, and the expressive capacity of language in poetry, celebrating the linguistic insights of fellow poet Mac Hammond. Olson’s dedication reflects both admiration and intellectual kinship, particularly in reference to Hammond’s 1960 address on poetic syntax. Olson’s piece delves into parallelism, equivalence, and the dynamic nature of language as essential to poetry’s architecture, linking these concepts to spiritual and cosmic realms.

The opening line, "Parallelism therefore is in fact Black Stone to Footstool of the Heavenly Heart," suggests a connection between the earthly and the celestial, with “Black Stone” symbolizing a grounding, foundational element that reaches toward divine understanding. Olson sees parallelism—the repetition or echoing of structure in poetry—not merely as a stylistic device but as a bridge between tangible reality and spiritual elevation. This structural parallelism brings the earthly closer to the “Heavenly Heart,” suggesting poetry’s potential to connect humanity with transcendent truths or higher ideals.

Olson’s “round and round the round we go” line implies the cyclical nature of poetic endeavor, a continuous process of discovery and reinterpretation. This circular imagery is reminiscent of the ways in which language and meaning constantly turn upon themselves, evolving through the poet’s hands. This inversion reflects the cosmic or universal cycles, aligning poetic syntax with natural forces like the “silent sun.” The sun’s silent yet ever-present influence, paralleled with the subtle shifts in poetic form and syntax, highlights a respect for the quiet yet profound impact of structure and form within the poem.

In mentioning the “modes of equivalences” and “solely the variants,” Olson emphasizes poetry’s reliance on both consistency and deviation. He sees equivalences—or parallels—as essential, with each variation or “variant” as an opportunity to explore new territory within the established framework. This balance between structure and innovation resonates with Hammond’s ideas on poetic syntax, wherein established forms are reimagined to capture the complexity of thought and feeling.

Olson then focuses on “the sd poet or individual of the poem capable of, approaching the construct,” positioning the poet as the creator who shapes the linguistic structure, venturing close to the “construct” of meaning. In "language the language of both of the feet of God," Olson invokes a profound reverence for language, suggesting that poetic expression holds the power to ground divinity in human experience. The idea of “the feet of God” implies stability, a foundational link between the divine and the human realm, aligning the poet’s task with something sacred or divinely guided.

Through "For Mac Hammond," Olson underscores the depth and power of poetic syntax, not merely as a technical aspect but as an essential part of the poet’s journey to connect with larger truths. His poem reflects on the process of poetic creation as an art that parallels, in its rhythm and structure, the cycles and mysteries of existence itself. Olson’s admiration for Hammond thus extends beyond personal appreciation, positioning Hammond’s insights within a broader conversation on poetry’s role as a bridge between human experience and the ineffable.

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