Classic and Contemporary Poetry: Explained

In "Dramatis Personae," Charles Olson presents a series of vivid and sometimes sardonic character sketches, exploring the various roles and personas that individuals inhabit. The title, taken from the Latin term for "cast of characters," alludes to the theatrical notion that each person is, in some sense, playing a part within the broader drama of life. Olson crafts each figure with a distinctive set of traits and peculiarities, juxtaposing elevated notions of honor and love with images of absurdity, triviality, and moral ambiguity. Through these contrasting portraits, Olson critiques societal norms and expectations, questioning the authenticity of the roles individuals adopt in modern society.

The poem opens by positioning honor at “the top of the hill,” suggesting an idealized moral pinnacle that characters aspire to or claim to hold. However, Olson quickly complicates this image with a figure who, overwhelmed by “vertigo,” falls “into the sea” and disappears. This portrayal speaks to the precariousness of honor and the ease with which one can fall from a position of idealized virtue. The vertigo that seizes the character reflects the disorientation that comes with trying to maintain integrity or high standards in a world that often lacks solid moral grounding. Olson's imagery of falling into the sea, “disappeared into the element,” conveys a return to an undifferentiated state, as though losing one’s grasp on virtue results in a dissolution of self.

Next, Olson introduces a more contemporary, self-made figure who has “answered an ad” and, having been “chosen,” now “charms the wood pulp” (a reference to the publishing industry). This character is a polished performer who operates within social and commercial systems, adeptly navigating appearances and superficialities. Olson’s description of him as “charming the wood pulp” underscores the performative nature of his life, suggesting that his existence is rooted in the artifice of print and media. This character, whose movements and mannerisms are increasingly artificial (“walks like the Mayflower Doughnut Company”), embodies the modern everyman—a figure who knows how to navigate social expectations but lacks substantive authenticity.

The poem’s tone shifts toward satire as Olson depicts this character as “Caucasian,” polished, and socially compliant, “will not falter at the meeting when presented to a hostess with uncovered breasts.” The line captures both his superficial modernity and conservative restraint. This individual’s cultural identity is tied to image and propriety, “crosses his hands gently” when in formal situations, as if attempting to present a calculated persona of civility. Olson employs ironic humor here, questioning the value and integrity of such “perfection.” This character seems well-adjusted to modern life, able to “cross oceans on missions without erring on arriving,” yet ultimately stands as a caricature of conformity.

Olson further deconstructs this modern persona, emphasizing its lack of depth and autonomy. He describes the character as someone who “sits under awnings where others would put on all sail,” an image that conveys passivity and hesitation. Where boldness and adventure might traditionally characterize a heroic individual, this character’s defining traits are his moderation, caution, and inertia—qualities that secure him social acceptance but deny him the chance for authentic experience or growth.

In another satirical turn, Olson presents a series of ironic statements about his protagonist's daily habits, saying he “sells selves on Wednesday, does not cross Sunday, eats buns on Monday.” These absurd details serve as metaphors for a routinized, compartmentalized existence where even identity is fragmented and distributed across different roles. The man’s life becomes a checklist of socially approved behaviors and indulgences, defined by the rhythms of consumption and performance rather than any personal convictions or desires. Olson’s refrain that the character “does not make any missteps” punctuates the poem’s critique, highlighting the contrast between social acceptability and genuine moral action.

The poem reaches a crescendo as Olson juxtaposes this careful, compliant persona with images of genuine moral failure. The character “was put down by standing by when friend’s friend was being kicked in head by two strangers.” This scene of bystander apathy underscores the ethical emptiness of social propriety when it is divorced from empathy or courage. Despite his polished exterior, the character’s failure to intervene reveals a profound moral shortcoming, a lack of substance behind his flawless social performance.

Olson closes with a haunting image of a different figure, one who “fell out of the sky…at the knees of the sun’s face.” This character’s celestial fall and “eyes in his head” that “were as ours” evoke an archetypal vision of humanity—both heroic and vulnerable. Olson uses this final image to underscore the shared human capacity for both aspiration and failure. Unlike the socially compliant figure earlier in the poem, this last character has undertaken a mythic journey and faced existential heights and depths.

In "Dramatis Personae," Olson uses a blend of satire, irony, and mythic imagery to explore the tension between authentic and inauthentic ways of being. The poem critiques the hollow performances that society often rewards, contrasting them with moments of existential risk that, while terrifying, also hold the potential for true selfhood. Ultimately, Olson’s portrayal of these contrasting figures serves as a commentary on the human condition, urging readers to consider the cost of living a life that prioritizes social approval over genuine moral courage.

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