Classic and Contemporary Poetry: Explained

John Hollander's "A Description of the Celebrated Statue of the Storyteller at Ioannapolis" presents an imaginative and detailed portrayal of a statue that transcends traditional forms of commemoration. This poem is not merely about a statue; it is a celebration of storytelling and the interplay between creator and creation, reality and fiction.

The statue is depicted as a bronze figure "Robed in a flowing of his own bronze," suggesting a seamless integration between the storyteller and his medium. This robed figure is not addressing a typical audience of listeners or admirers. Instead, he is engaged with an "attendant gathering of his Stories," which have come to pay homage to their creator. This unusual dynamic highlights the symbiotic relationship between the storyteller and his stories, emphasizing the autonomy and life that stories can take on once they are created.

The poem lists several of these stories, such as "The Girl in the Ball," "the Sorrowful Ferryman," "the Missing Bear," "William, from The Story of William," and "The Seven Enchanted Tuna." Each of these titles evokes a sense of wonder and curiosity, inviting the reader to imagine the tales themselves. The stories are personified, capable of movement and homage, reinforcing the idea that they are not mere narratives but living entities in their own right.

The storyteller, with his "reaching fiction pointing inward," suggests introspection and the inward journey that storytelling often entails. This inward pointing could symbolize the self-referential nature of storytelling, where stories reflect back on their creator and the human experience. The storyteller's gesture is not for the trees, the "big-eyed, witnessing beasts," or the busy stoa across from him; it is for the stories themselves, underscoring the intimate relationship between the artist and his creations.

Hollander poses the intriguing question of whether the storyteller is narrating "the story of How They Were Told." This meta-narrative possibility adds another layer of depth to the poem, blurring the lines between the story and the act of storytelling. It suggests a reflective process where the act of creation is itself a story worthy of being told.

The poem then transitions to a more personal reflection, where the speaker expresses a longing to encounter their own creations in a similar fashion. The imagery of "a little parade of our own fictions" and "the flaming tuba and the lion hand in hand" evokes a whimsical and fantastical scene, illustrating the desire for a tangible connection with one's imaginative creations. This longing is further expressed in the hope of casually encountering a scene like "The nude girl looking neither at us / Nor at her choir of white and brown eggs on a table top," a surreal and intimate tableau that captures the essence of fleeting artistic moments.

Hollander concludes by acknowledging the craftsmanship of the statue, remarking on "how appropriate a commendation the statue performs!" and the artist's attention to detail, such as "William's hair." This commendation serves as a reminder of the artist's role in bringing stories to life and the meticulous care involved in such a creation.

"A Description of the Celebrated Statue of the Storyteller at Ioannapolis" is a rich and layered poem that celebrates the art of storytelling and the intricate relationship between the storyteller and their creations. Through vivid imagery and a thoughtful exploration of the creative process, Hollander invites readers to consider the enduring power of stories and the way they inhabit our lives. The statue becomes a symbol of this enduring legacy, a tribute not only to the storyteller but also to the stories that continue to live and inspire.

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