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John Wieners' "Voce" is a dense and enigmatic exploration of art, memory, and human fragility, articulated through a fragmented yet evocative poetic voice. The poem intertwines personal recollections, cultural references, and philosophical musings, creating a tapestry that invites both introspection and analysis.

The opening lines, "Art, classical spontaneity. / Inspiration of millions," immediately establish the poem's thematic focus on the power and universality of artistic expression. Wieners juxtaposes the disciplined formality of classical art with the unpredictable nature of inspiration, suggesting that art transcends boundaries and resonates across generations.

The mention of "David / In his wheel-chair from the senior prom / At Harvard" introduces a poignant personal memory, grounding the poem in a moment of vulnerability and human connection. David's presence in a wheelchair at a Harvard prom—a setting emblematic of privilege and intellectual achievement—creates a stark contrast that highlights themes of inclusion, resilience, and the limitations imposed by physical frailty.

The rhetorical question, "Who was responsible for the stroke," shifts the focus from memory to a broader contemplation of causality and accountability. The reference to "the swing-time of Saint Adele, blessed sister" evokes a bygone era, blending reverence with nostalgia. Saint Adele's invocation may symbolize a guardian figure or a muse, reinforcing the interplay between the sacred and the personal in Wieners' poetic universe.

As the poem unfolds, it transitions into a meditation on poetry itself: "Poetry remains such taste of one man for his other / through cinema, opera upon bards from Theatre." Here, Wieners celebrates the interconnectedness of artistic forms, emphasizing poetry's role as a medium that bridges disparate realms of creativity. The phrase "taste of one man for his other" suggests a deep, perhaps intimate, appreciation of shared artistic experiences.

The introduction of the "leopard" and "his maker Mother, and serial number date versifier" adds a surreal and symbolic layer to the poem. The leopard, often a symbol of strength and grace, could represent the poet's alter ego or the enduring nature of artistic legacy. The "serial number date versifier" suggests a mechanized or institutionalized approach to cataloging creativity, contrasting with the organic spontaneity celebrated earlier.

Wieners critiques materialism and transient pleasures with lines like "Genius surrenders not / For monetary, neither momentary pleasure." This declaration underscores the enduring and selfless nature of true artistic genius, which exists beyond the confines of greed or ephemeral gratification. The reference to "Queen Gloria Delaunay surrenders in peculiar memory" could allude to a figure or archetype representing opulence or cultural memory, further emphasizing the tension between art's purity and society's commodification.

The concluding phrase, "sotto," meaning "softly" or "under the breath" in Italian, encapsulates the poem's understated and introspective tone. It suggests that the truths articulated in the poem, though profound, are whispered rather than proclaimed, aligning with the intimate and reflective nature of Wieners' work.

"Voce" is a richly layered poem that defies easy interpretation, weaving together personal history, artistic commentary, and philosophical reflection. Through its fragmented structure and evocative imagery, Wieners captures the complexity of human experience, the transformative power of art, and the enduring quest for meaning in a transient world. The poem's elliptical style invites readers to engage actively, piecing together its allusions and resonances to uncover its multifaceted depths.


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