Classic and Contemporary Poetry: Explained

Adrienne Rich's poem "Pictures by Vuillard" uses the art of Edouard Vuillard to explore themes of nostalgia, memory, and the contrast between idealized scenes of the past and the complexities of contemporary life. Vuillard, known for his intimate domestic interiors and lush, detailed depictions of everyday moments, serves as a touchstone for Rich's reflections on tranquility, loss, and the passage of time.

The poem opens with a vivid recollection of a tranquil scene: "Now we remember all: the wild pear-tree, / The broken ribbons of the green-and-gold / Portfolio, with sketches from an old / Algerian campaign; the placid three / Women at coffee by the window, fates / Of nothing ominous, waiting for the ring / Of the postman's bell; we harbor everything— / The cores of fruit left on the luncheon plates." This detailed imagery evokes Vuillard's characteristic style, which captures the quiet beauty and detailed textures of domestic life. The wild pear-tree, the women at coffee, and the remnants of a meal symbolize a serene and untroubled existence, where even mundane objects are part of a harmonious whole.

Rich reflects on the idealized past depicted in Vuillard's art: "We are led back where we have never been, / Midday where nothing's tragic, all's delayed / As it should have been for us as well—that shade / Of summer always, Neuilly dappled green!" The phrase "led back where we have never been" suggests a longing for a past that is both familiar and unreachable, an idealized moment captured in Vuillard's artwork. The "shade / Of summer always" represents an eternal, unchanging peace that contrasts with the readers' own experiences.

The poem then juxtaposes this ideal with the readers' reality: "But we, the destined readers of Stendhal, / In monstrous change such consolations find / As restless mockery sets before the mind / To deal with what must anger and appall." Here, Rich acknowledges that those who appreciate such art are often dealing with turbulent and unsettling realities. The reference to "Stendhal"—known for his exploration of passion and psychological depth—highlights the complex and often distressing nature of contemporary life. The juxtaposition underscores the gap between the serene, orderly world depicted in Vuillard's paintings and the chaotic, often disheartening world in which the viewers live.

Rich continues to explore this tension: "Much of the time we scarcely think of sighing / For afternoons that found us born too late. / Our prudent envy rarely paces spying / Under those walls, that lilac-shadowed gate." The poem suggests that while there is a longing for the simplicity and peace of the past, it is not a constant presence. The "prudent envy" indicates a measured, almost reluctant, yearning for what is depicted in Vuillard's art, acknowledging that the past, with its ordered beauty, is both desirable and unattainable.

The concluding lines bring a sense of wistful resignation: "Yet at this moment, in our private view, / A breath of common peace, like memory, / Rustles the branches of the wild pear-tree— / Air that we should have known, and cannot know." This imagery evokes a fleeting sense of peace and connection to the past, symbolized by the rustling branches of the pear-tree. The "air that we should have known" suggests a longing for a simplicity and peace that feels deserved but unattainable, reflecting the viewers' recognition that the tranquil scenes of Vuillard's paintings are out of reach in their present lives.

"Pictures by Vuillard" by Adrienne Rich captures the complex relationship between art, memory, and reality. Through her evocative imagery and reflective tone, Rich uses Vuillard's intimate, detailed paintings to explore the tension between the idealized world of the past and the often chaotic and unsettling nature of contemporary life. The poem invites readers to reflect on their own experiences of memory and longing, using Vuillard's art as a lens to examine the enduring human desire for peace and order amidst life's inherent turbulence.

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