Classic and Contemporary Poetry: Explained

In "Black Mt. College - Dat Ol Sphinx - Has a Few Words for a Visitor," Charles Olson delivers a critique directed at the poet Paul Goodman, couched in a tone both confrontational and mocking, as Olson employs mythological references and symbolic language to address themes of authenticity, idealism, and moral responsibility within the creative community. Black Mountain College, where Olson taught and which was a haven for avant-garde artists and thinkers, serves as the backdrop—a place steeped in progressive ideals and intellectual rigor but also demanding self-scrutiny. The "Sphinx" of Olson's poem symbolizes an ancient, unyielding force of wisdom, waiting to challenge and expose the inner truth of those who come before it, demanding answers from those who espouse values of equality and progressive thought.

Olson begins by challenging Goodman to "Name names," implying that Goodman’s ideals lack specificity or personal accountability. By framing this demand through the myth of "Everyman," Olson mocks what he perceives as Goodman’s diluted or overly sentimental approach, likening Goodman to a "ginger cookie," a symbol of something insubstantial and easily consumed. Olson, steeped in the tradition of mythological and existential symbolism, is discontented with the perceived "sweetness" and surface-level ideology he attributes to Goodman’s work.

The line "if we must have such classes as 'equals,' the young, your lads, the fearful lasses" critiques the idealized but simplistic notion of equality that Olson believes Goodman champions. Olson’s sardonic tone suggests that reducing complex individuals to idealized categories of "equals" or "youth" dilutes the radical potential of self-discovery, intellectual engagement, and true connection. Olson sees this approach as insufficient for confronting the deeper questions that the "Sphinx"—a symbol of wisdom and mystery—demands answers to.

The reference to "Huss" brings in the historical figure Jan Hus, a Czech priest and reformer who challenged the established church and faced martyrdom. By invoking Huss, Olson may be calling Goodman to a higher standard of truth-telling, one that risks personal safety or reputation. This notion contrasts with what Olson seems to view as Goodman’s safer, more palatable ideas. Olson’s critique continues with layered references, like "poor dear doom, your going away not rightly used," suggesting that Goodman’s ideals may ultimately lead to a fruitless end if they are not tempered by a deeper reckoning or truth.

Olson then introduces imagery related to "poor Sis," symbolizing the feminine or marginalized perspectives that Olson feels are sidelined by male-dominated intellectualism or idealism. "Poor Sis," with her "tender ender" and "portcullis," appears to represent a type of vulnerable, unexplored wisdom, one that is both defensively closed off and limited by traditional gendered expectations. Olson critiques this oversight, implying that Goodman’s idealistic vision neglects or diminishes the feminine or "othered" aspects of human experience.

The invocation of "Hansel" and "witches" merges childhood folklore with mythic archetypes, as Olson likens Goodman to Hansel—both vulnerable and cunning, navigating a world of powerful figures (witches) who exert a mysterious hold over him. Here, Olson seems to suggest that Goodman, like Hansel, is still "running from her hot breath who bore you," or evading deeper truths of his own creation or his origins, perhaps representing the unexamined forces that drive him.

Olson also uses the metaphor of "cookies dipped in same from your fell poem" to describe Goodman’s poetry as ultimately falling short of the depth Olson demands. This "cookie" imagery—representing something insubstantial, childlike, and consumable—is in stark contrast to the ancient, cryptic knowledge embodied by the Sphinx, suggesting Goodman’s work lacks the substantive challenge or rigor Olson values. The Sphinx, a creature of mystery and profound knowledge, is unimpressed, demanding something that transcends "cookies" or easy sentiments.

In conclusion, Olson’s "Black Mt. College - Dat Ol Sphinx - Has a Few Words for a Visitor" is both a critique of Goodman and a broader exploration of the intellectual and artistic community's responsibilities. Olson confronts the superficial idealism he perceives in Goodman’s work, using mythological imagery to underscore his demand for authenticity, depth, and introspective rigor. Through this lens, Olson positions the Sphinx as the ultimate arbiter of truth, a force that will expose any weakness, pretense, or evasiveness. This poem becomes a reflection on what it means to be truly engaged in the pursuit of knowledge, creativity, and human understanding, calling out for the courage to confront not only societal structures but also the personal truths that lie at the heart of self and art.

Copyright (c) 2025 PoetryExplorer

Discover our Poem Explanations and Poet Analyses!

Other Poems of Interest...