Classic and Contemporary Poetry: Explained

In "Pictures Of The Gone World: 8," Lawrence Ferlinghetti explores the interplay between art, illusion, memory, and reality. The poem reflects on the works of the Spanish Impressionist Joaquín Sorolla and how his paintings create vivid yet possibly deceptive images of love and beauty.

The poem begins by introducing Sorolla's iconic subject matter: "Sorolla's women in their picture hats / stretched upon his canvas beaches / beguiled the Spanish Impressionists." The phrase "stretched upon his canvas beaches" immediately brings to mind Sorolla's bright, sunlit paintings, often featuring women lounging on beaches or by the water. These figures "beguiled the Spanish Impressionists," suggesting that Sorolla's work captivated his contemporaries with its luminous portrayal of life.

Ferlinghetti then questions the authenticity of Sorolla's paintings: "And were they fraudulent pictures of the world / the way the light played on them / creating illusions of love?" Here, he raises the idea that the play of light in Sorolla's paintings may have created an idealized image of love and beauty that does not necessarily reflect reality. The word "fraudulent" hints at a sense of artificiality in these images, where the "illusions of love" are crafted by the skillful manipulation of light and color.

Despite this potential illusion, Ferlinghetti acknowledges the allure of Sorolla's art: "I cannot help but think / was almost as real as that / their 'reality'." He reflects on how the memory of those images can be almost as tangible as reality itself. This leads to a personal reflection on a recent memory: "my memory of today / when the last sun hung on the hills / and I heard the day falling." The falling day is compared to "the gulls that fell almost to land," creating a parallel between the setting sun and the descending gulls.

Ferlinghetti continues with a scene of intimacy and passion: "while the last picnickers lay and loved / in the blowing yellow broom / resisted and resisting / tearing themselves apart / again again." The "blowing yellow broom" suggests a wild and untamed natural setting, adding to the sense of abandon. The repetition of "again again" emphasizes the cyclical nature of their love and struggle, leading up to "the last hot hung climax / which could at last no longer be resisted / made them moan of spring."

The poem concludes with the image of "Ani night's trees stood up," which appears cryptic but evokes the feeling of nightfall and the shadows cast by trees standing upright. The use of "Ani" could be a typo or an intentional distortion, adding to the surreal, dreamlike quality of the final lines.

In "Pictures Of The Gone World: 8," Ferlinghetti meditates on the interplay between memory, art, and reality, questioning the authenticity of artistic portrayals while acknowledging their compelling beauty. He blurs the line between illusion and reality, ultimately celebrating the timeless allure of both Sorolla's paintings and his own vivid memories of love and passion.

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