Classic and Contemporary Poetry: Explained

In "Pictures of the Gone World: 4," Lawrence Ferlinghetti creates a vivid tableau of memory, dreams, and poetic reverie, blending his experiences in Paris with imagery inspired by Provence and the French poet René Char. The poem captures the interplay between longing, beauty, and the passage of time.

Ferlinghetti begins by setting the scene: "In Paris in a loud dark winter / when the sun was something in Provence." The stark contrast between the cold, noisy Parisian winter and the warm, idyllic imagery of Provence evokes a sense of longing and displacement. Paris, usually associated with romance and culture, is depicted as "loud" and "dark," while the sun's absence suggests a lack of warmth and inspiration. Provence, with its "sun," becomes a distant but enticing ideal, a symbol of creativity and light.

The line "when I came upon the poetry / I saw Vaucluse again" introduces a pivotal moment where Ferlinghetti discovers the transformative power of poetry. Vaucluse, a region in Provence known for its natural beauty and historical significance, symbolizes artistic inspiration and renewal. Its "fountains full of petals" evoke a sense of rebirth and beauty, while "through all the burnt places / and the fields full of silence / with their legs" hints at resilience amid adversity.

Ferlinghetti's imagery is infused with references to René Char, particularly his collection "Fureur et Mystère" (Fury and Mystery). The poem's line "no Lorelei upon the Rhone / of René Char / in a summer of sauterelles" recalls Char's poetic landscapes and characters. The "Lorelei" represents a mythical figure often associated with seduction and danger, while the "Rhone" is the river that flows through Provence. By denying the presence of a Lorelei, Ferlinghetti implies a departure from traditional myths, focusing instead on the reality of Char's poetic world.

"A summer of sauterelles" (grasshoppers) adds a layer of natural imagery that complements the poem's themes of transformation and renewal. The "river thrown down / of that almond world" paints an image of abundance and vitality, while "though the crickets sang" provides a backdrop of harmony amid chaos.

In "the poet's plangent dream I saw / nor angels debarked at Marseilles," Ferlinghetti distances himself from the idealized visions of angels. Instead, he describes "couples going nude into the sad water," symbolizing vulnerability and intimacy. This scene takes place "in the profound lasciviousness of spring," where desire and melancholy intermingle. The phrase "in an algebra of lyricism / which I am still deciphering" suggests that these images hold layers of meaning that remain elusive. The "algebra of lyricism" points to the complexity of poetic expression, where emotions and symbols are interwoven in intricate patterns.

Structurally, the poem is written in free verse, with varied line lengths and enjambment that create a flowing, dreamlike quality. The imagery shifts between the concrete and the abstract, capturing the fluidity of memory and imagination. Ferlinghetti's language is rich in metaphor and allusion, drawing readers into a world where reality and poetry are intertwined.

Overall, "Pictures of the Gone World: 4" is a meditation on the transformative power of poetry, love, and memory. Ferlinghetti uses the landscapes of Provence and Paris to convey a sense of longing, while René Char's influence adds a layer of myth and symbolism. The poem reflects on the complexity of desire and creativity, offering a glimpse into a world where poetry becomes a lens through which to view life. Through this lens, Ferlinghetti celebrates the enduring beauty of artistic inspiration and the mysterious ways in which it shapes our perceptions of the world.

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