Classic and Contemporary Poetry: Explained

Charles Olson?s "The Ring Of" is a vibrant reimagining of the mythological birth and subsequent actions of Aphrodite, the Greek goddess of love and beauty. It weaves elements of classical mythology with Olson’s characteristic poetic energy, exploring themes of creation, desire, beauty, and the inevitable complexities of their intersections. Through his unique voice, Olson revitalizes these ancient myths, presenting them as dynamic and relevant to contemporary concerns.

The poem begins with the image of the "west wind" carrying Aphrodite as she "rose from the genital wave." This opening evokes her mythic origin, born from the sea foam generated by Uranus?s severed genitals. Olson’s description here is both sensual and elemental, emphasizing the interplay of natural forces—wind, sea, and foam—that give rise to this "new thing" of exceptional beauty. The use of "genital wave" directly ties Aphrodite?s birth to themes of generative power and primal creation, setting the tone for a meditation on the nature and consequence of beauty.

The poem captures the immediacy and fervor of Aphrodite’s reception by the gods and the Hours, who "welcomed her, clad her, were as though they had made her." Olson’s depiction of the Hours, traditionally seen as goddesses of natural order and seasons, emphasizes their eager participation in beautifying and legitimizing this unprecedented creation. They serve as both witnesses and accomplices, imbuing Aphrodite with an aura of divine inevitability. The imagery of "violets in her hair" further cements her as a symbol of fertility and vitality, connecting her to the flourishing cycles of nature.

However, Olson quickly pivots from this idyllic vision of Aphrodite’s reception to her defiance. "She said no to Zeus & them all," the poem declares, positioning her as a figure of autonomy and resistance. In this act, Aphrodite disrupts the hierarchical order of the gods, refusing the dominion of Zeus, the king of the gods, and rejecting the societal expectations imposed upon her beauty. The poem teases the reader with ambiguity, posing questions: "was it she chose the ugliest to bed with, or was it straight and to expiate the nature of beauty, was it?" Here, Olson engages with the myth of Aphrodite’s marriage to Hephaestus, the god of fire and craftsmanship, traditionally depicted as lame and unattractive. Her choice—or acquiescence—becomes a meditation on the paradoxes of beauty: its capacity to inspire both reverence and constraint, its freedom and its burden.

The poem also delves into Aphrodite’s relationship with Mars (Ares), the god of war, describing him as the "handsome" counterpart to Hephaestus. This juxtaposition of the lame craftsman and the virile warrior underscores Aphrodite’s complexity. She navigates between these two archetypal forms of masculinity, embracing both in different capacities. The relationship with Mars results in the birth of a child, Eros, whose name signifies desire and love, symbolizing the creative and destructive potential inherent in beauty and passion. Olson’s language—"the arrow of / as the flight of"—captures the kinetic and uncontainable nature of this lineage, as Eros embodies both his mother’s allure and the dynamic movement of her essence.

Olson’s poem is suffused with mythological resonance, but it is also deeply modern in its treatment of these themes. His focus on the "ring of the sea" and the cyclical nature of creation and destruction suggests that Aphrodite is not merely a figure of static beauty but an active force within a cosmic rhythm. The "words they rise, they do" ties this rising energy to the generative power of language itself, making the poem an enactment of its own subject. The very act of writing, like Aphrodite’s emergence, is framed as a transformative act born of elemental forces.

Structurally, the poem unfolds as a fluid, almost conversational exploration of Aphrodite’s myth, mirroring the ebb and flow of the sea from which she arises. Olson’s use of enjambment and irregular rhythms reflects the goddess’s untamed nature and the unpredictable currents of desire and creation she represents. The language oscillates between the colloquial ("this girl") and the elevated ("the face of the gods"), reinforcing the tension between the ordinary and the divine that defines Aphrodite’s mythos.

Ultimately, "The Ring Of" grapples with the enigmatic power of beauty and its entanglement with love, desire, and autonomy. Olson’s Aphrodite is not a static icon but a dynamic force, constantly in motion, refusing confinement, and embracing the multiplicity of her nature. By revisiting and reinvigorating this ancient story, Olson invites readers to reflect on the enduring relevance of these myths and their capacity to illuminate the complexities of human existence. The poem stands as a testament to the power of transformation—of the sea into a goddess, of love into action, and of myth into meaning.

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