Classic and Contemporary Poetry: Explained

Albert Goldbarth's poem "These Likenesses" explores the power of similes and metaphors to bridge disparate elements of experience, creating connections that reveal deeper meanings and shared human emotions. The poem weaves together historical references, vivid imagery, and poignant juxtapositions to highlight how likenesses, despite their apparent fragility, persist and resonate across different contexts.

The poem opens with a reference to Edmund Halley, the renowned 18th-century astronomer, who presented a diving bell to the Royal Society in 1716. This historical allusion sets the stage for exploring the theme of connectivity, as Halley's work bridged the realms of sea and sky, much like rain does. The mention of Halley underscores the idea that scientific exploration and poetic imagination both seek to uncover hidden connections in the world.

Goldbarth then shifts to a contemporary urban scene, describing "dirty red boxes on dark poles" that signal alarm. These red boxes symbolize a network of emergency alerts, connecting the city's residents to a central command. The imagery of these boxes evokes a sense of urgency and underlying danger, contrasting sharply with the serene image of a "pale girl playing a harp." This juxtaposition highlights the tension between chaos and calm, between the harsh realities of urban life and the delicate beauty of art.

The poem continues to explore the theme of likeness through a series of metaphors and similes. The girl playing the harp is compared to a "damaged angel" and a "marionette," each likeness adding layers of meaning to her image. These comparisons, though "hardly more substantial than meringue," persist and resonate, much like the poem's overarching metaphor of interconnectedness.

Goldbarth then brings the reader to a grim scene: "Fifty floors below us, propped by planks in an alley, a knife-slashed man is gasping one last breath." The man's dying breath is likened to a "mouth harp," creating an urgent blues, a poignant reminder of the universality of suffering and the fragility of life. This stark imagery contrasts with the earlier, more ethereal images, emphasizing the poem's exploration of the duality of human experience.

The poem also delves into the personal and communal impact of tragedy. At the "annual convocation dinner of Future Farm Women," the empty chair and the recent murder of a girl from Dubuque weigh heavily on the attendees. This scene underscores how personal loss and violence resonate within a community, creating an "equals-sign" of shared pain.

Goldbarth returns to Halley, describing how his diving bell's hoses and ropes inspired a poetic member of the Royal Society to call it "a harp the Waters are making their Musicks upon, beyond our hearing." This metaphor extends the poem's exploration of hidden connections and unseen beauty, suggesting that both scientific instruments and celestial patterns can reveal wild beauty through study and order.

The poem concludes with a powerful image of a girl in a flophouse, using garters, rubber bands, and condoms to create a makeshift harp. This girl, likened to a harpist of "exquisite sensitivity," embodies the resilience and creativity found in the most challenging circumstances. The final simile compares her to a farmgirl milking, with "sweet strings sing[ing] to the pail," reinforcing the idea that beauty and music can be found in the mundane and the extraordinary alike.

Through its rich imagery and intricate metaphors, "These Likenesses" highlights the connections between disparate elements of human experience, revealing the shared beauty and suffering that unite us all. Goldbarth's poem invites readers to see the world through a lens of interconnectedness, where even the most ordinary objects and moments can resonate with profound meaning.

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