Classic and Contemporary Poetry: Explained

John Ashbery's poem "To Redouté" is a rich, evocative piece that pays homage to Pierre-Joseph Redouté, a renowned painter known for his detailed botanical illustrations, particularly of roses and other flowers. Ashbery's work often bridges the gap between visual and literary arts, and this poem is no exception, translating the delicate beauty and complexity of Redouté's flowers into the medium of verse. The poem weaves together themes of beauty, transience, and the interplay of light and darkness, encapsulating the essence of Redouté's art while exploring deeper philosophical and emotional landscapes.

The opening lines immediately immerse the reader in a vivid, almost surreal landscape where "true roses" are "uplifted on the bilious tide of evening / And morning-glories dotting the crescent day." This imagery not only evokes the beauty and delicacy of the flowers Redouté depicted but also suggests a fluid, dynamic interaction between nature and time. The "bilious tide of evening" and "crescent day" imply a continuous cycle of growth and decay, a theme central to both botanical life and human experience.

Ashbery's poem employs an intriguing structure with the mention of "My first" and "My second," hinting at a riddle or a puzzle to be solved. "My first is a haunting face / In the hanging-down hair" could symbolize the allure and mystery inherent in the natural world, as captured in Redouté's illustrations. "My second is water: / I am a sieve" suggests the essential, life-giving element of water, pivotal for growth and survival, yet also indicative of loss and the inability to hold onto the fleeting moments of beauty and life, much like a sieve cannot retain water.

The phrase "My only new thing: / The penalty of light forever" introduces a contemplation on the exposure and vulnerability that comes with visibility and recognition, perhaps reflecting on the artist's (or the poet's) relationship with their work and audience. The "penalty of light" might allude to the inevitable scrutiny, interpretation, and sometimes the distortion of an artist's work when brought into the public eye.

Ashbery's reference to "the cough of the finishing petal" captures the ephemeral nature of beauty and the inevitable decline that follows the peak of bloom. This imagery is poignant, reflecting the transient glory of Redouté's flowers, immortalized in art yet subject to the same cycles of birth and death as all living things.

The concluding lines, "Once approved the magenta must continue / But the bark island sees / Into the light: / It grieves for what it gives: / Tears that streak the dusty firmament," delve into the complex emotions surrounding creation and loss. The "magenta" could represent the vibrant life and beauty that persist despite approval or recognition, while the "bark island" perhaps symbolizes a solid, enduring presence amidst the fleeting world. The notion of grieving for what is given, coupled with the imagery of tears streaking "the dusty firmament," evokes a sense of melancholy and beauty in sacrifice, underscoring the poem's meditation on the costs and rewards of creation and visibility.

"To Redouté" is a layered, introspective work that transcends a mere tribute to an artist; it is a meditation on the nature of beauty, the cycles of life and art, and the complex interplay of light and shadow, visibility and obscurity. Ashbery's poetic exploration mirrors the delicate precision of Redouté's botanical illustrations, offering a profound reflection on the enduring impact of art and the nuanced, often bittersweet experiences of the artist and their audience.

POEM TEXT: https://ashberyhouse.yale.edu/redoute#:~:text=To%20true%20roses%20uplifted%20on,water%3A%20I%20am%20a%20sieve.

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