Classic and Contemporary Poetry: Explained

John Hollander's "About the Canzone" is an illuminating exploration of the canzone form, presented through the very structure it describes. This metapoetic work delves into the challenges and intricacies of composing within this demanding poetic format, while also reflecting on the nature of repetition, meaning, and poetic labor.

The poem begins by introducing the canzone, noting its complexity: "Here's the canzone, a form that's almost too / Taxing to write." Hollander immediately sets the stage for an in-depth examination of the form's requirements, which include five stanzas of twelve lines followed by a final tornada of five lines. The mention that the canzone might seem "no more / Difficult than a sestina—maybe two / Sestinas" highlights its perceived complexity, while simultaneously dismissing this comparison as inaccurate.

The poem delves into the mechanics of the canzone, emphasizing the repetition of end-words across stanzas. This repetition creates a "painful form" where words gain weight and significance through their recurrence. Hollander likens this process to planting and reaping: "Hereafter we must reap what now we sow." The familiar words, reused and revisited, develop layers of meaning and emotional resonance, reflecting life's cyclical nature and the persistence of certain themes and experiences.

Hollander addresses the challenge of repetition: "repeating words hurts so." This repetition can make the poem seem monotonous, yet it also builds a sense of continuity and depth. The poet's task is to imbue these repeated words with fresh meaning, making each recurrence significant. He explores the idea that repeated truths—though they might seem banal—are foundational: "But where else does truth lie? / It's not the once-told tales that still apply."

The poem's tone is conversational and self-aware, often addressing the reader directly. Hollander uses enjambment and varied line lengths to maintain a fluid and engaging rhythm, despite the constraints of the form. He plays with the idea of the poem's end-words, personifying them and exploring their roles within the structure: "Canzone end-words have their music, too, / Affirming music, which in ever more / Recurrent waves, agreeably says 'Sí, / Señor' to firmness, as to the shore, the sea."

Hollander's use of enjambment and repetition mirrors the ebb and flow of the sea, a recurring metaphor throughout the poem. This metaphor culminates in the reference to the ancient Greek warriors' cry of "Thalatta, thalatta!" upon sighting the sea. This joyful recognition parallels the poet's relief upon nearing the poem's conclusion after navigating the rigorous structure of the canzone.

In the final tornada, Hollander cleverly integrates the five end-words: "to," "see," "more," "lie," "so." This culmination not only showcases his technical skill but also provides a sense of closure and accomplishment. The journey through the canzone mirrors a pilgrimage, with the end-words serving as waypoints guiding the reader and the poet toward the poem's resolution.

"About the Canzone" is both a technical demonstration and a reflective meditation on the art of poetry. Hollander's playful yet profound engagement with the canzone form highlights the beauty and difficulty of structured poetic expression. Through his intricate weaving of repeated words and themes, he underscores the transformative power of poetry to elevate the mundane and reveal deeper truths. The poem stands as a testament to the enduring challenge and reward of working within traditional forms, celebrating the meticulous craft of the poet and the rich, resonant music of structured verse.

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