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Classic and Contemporary Poetry: Explained | |||
The poem begins with a retelling of the moment when the maids, having gone to buy oil, find themselves locked out of the wedding feast, a situation that echoes the parable from the Gospel of Matthew. However, Ashbery extends the narrative beyond the biblical text, suggesting not only a physical exclusion but a fundamental transformation of the maids themselves. They are described as "different persons, excluded just for wanting to be part of the crisis," highlighting the theme of change as both a consequence of their actions and a cause for their exclusion. This transformation and the ensuing exclusion are not merely due to negligence or forgetfulness but are tied to a deeper, more existential shift in identity. Ashbery's interpretation invites reflection on the nature of belonging and the ways in which individuals can become alienated from communities and experiences to which they aspire. The line "Not having you desire the house the days of these last weeks has swept into disruptive cinema" introduces a personal dimension to the narrative, suggesting a rift or a longing that transcends the immediate context of the parable. This imagery of life as "disruptive cinema" evokes the chaos and unpredictability of existence, further complicating the themes of exclusion and transformation. The mention of people coming "from all over to view" and staying "in droves" reflects on the spectacle of exclusion and the human tendency towards envy and schadenfreude. Ashbery's use of contemporary language and imagery, such as the reference to removing "too many rings," grounds the poem in the tangible and the familiar, bridging the gap between the ancient and the modern. The appearance of a "thoroughly rinsed sky" and a "zeppelin" that passes "smiling, knowing it would all be on the evening news" introduces elements of modernity and the omnipresence of media. This juxtaposition of the timeless with the temporal speaks to the poem's exploration of how narratives of exclusion and transformation are perceived and disseminated in contemporary society. The structure of "Ritual II," characterized by free verse and a fluid, associative logic, mirrors the poem's thematic fluidity and the indeterminacy of its subject matter. This structural choice supports the poem's exploration of the liminal spaces between the past and the present, the self and the other. Stylistically, "Ritual II" is marked by Ashbery's evocative language and his capacity to infuse the narrative with a sense of the extraordinary. His work invites readers into a space of reflection and interpretation, encouraging a personal and reflective engagement with its themes and questions. In the broader context of Ashbery's oeuvre and postmodern literature, "Ritual II" reflects the movement's engagement with questions of identity, the instability of language, and the fragmentary nature of reality. The poem, with its nuanced exploration of these themes and its open-endedness, exemplifies Ashbery's contribution to contemporary poetry's ongoing dialogue with the complexities of the human experience. In conclusion, "Ritual II" by John Ashbery stands as a meditation on the interplay of tradition and modernity, the seen and the unseen, and the search for meaning within the complexities of existence. Through its intricate imagery, thematic depth, and stylistic innovation, the poem invites readers into a reflective engagement with the uncertainties and possibilities of existence, marking it as a significant work within Ashbery's distinguished body of work and the broader landscape of contemporary poetry.
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