Classic and Contemporary Poetry: Explained

Charles Olson?s "Objects" is a reflective meditation on the celestial body Venus, imbued with themes of love, disappointment, and human frailty. Through its evocative imagery and intimate tone, the poem captures the tension between the grandeur of universal symbols and the personal struggles that color human perception of such objects.

The opening lines, "So Venus does hang and glitter in the prepared sky," establish Venus as a luminous presence, both celestial and enduring. By describing the sky as "prepared," Olson hints at a deliberate orchestration, as if nature herself has set the stage for something profound. Venus, often symbolizing love and beauty, is positioned as a steadfast object, a touchstone for reflection. The speaker’s act of keeping Venus "for you while you were south in the city" introduces a personal dimension, suggesting an intimate connection between the celestial and the interpersonal. The imagery of watching Venus "race into the west" captures the planet’s perpetual motion, mirroring the fleeting yet cyclical nature of human emotions and relationships.

Olson then shifts to address his addressee more directly, observing their tendency to dwell on "disappointment." This observation reveals a contrast between Venus?s steadfast beauty and the addressee’s emotional instability. The metaphor of clinging to disappointment "like her fuzzy light" suggests a distorted perception of beauty or love, where the brilliance of Venus is overshadowed by its imperfections. The phrase "bedazzles all who ever look at her" underscores Venus?s duality—it dazzles and captivates, but also blinds, echoing the complications of love and desire.

The line "And groan of her diseases" introduces a stark juxtaposition. Venus, often romanticized as the epitome of beauty, is here linked to decay and danger. The addressee’s remark that Venus’s atmosphere "must be ammonia" and would "frizzle us" highlights humanity?s inability to fully engage with its ideals without encountering their darker aspects. This imagery shifts Venus from an abstract symbol to a physical, almost threatening presence, reminding readers of the distance between human ideals and reality. The comparison to "hands too long in soap" evokes a sense of erosion, as if prolonged exposure to such grandeur could wear away the human spirit.

Olson complicates Venus further by asserting what she is not: "She?s not moon or sun, Attis, nor mother to comfort you." These lines strip Venus of traditional archetypes—she is neither a nurturing mother nor a divine masculine figure like Attis. Instead, she stands as an independent and enigmatic entity, reflecting the complexities of love and desire that cannot be easily categorized. This refusal to box Venus into a comforting role underscores the discomfort and longing inherent in the human relationship to ideals.

The poem reaches its emotional core in the trio of "wife and concubine and boy," suggesting the complexity of human relationships and desires. These figures, emblematic of companionship, sensuality, and youth, fail to satisfy the addressee’s yearning. The "sal of taste upon your tongue" evokes an enduring bitterness, a dissatisfaction with both earthly connections and celestial ideals. The speaker’s tone carries a subtle critique, urging the addressee to confront their relationship with Venus as more than an escape or disappointment.

Olson’s use of "she’s not moon or sun" builds a nuanced argument about Venus’s symbolic function. Unlike the moon, which provides solace, or the sun, which commands reverence, Venus represents something in between—an elusive, unattainable ideal that seduces yet confounds. Her role as a "sign of love and war" positions her as both a beacon of hope and a reminder of conflict, internal and external. The mention of the "old Victorian bed you sold" ties this celestial meditation back to the domestic and personal, grounding the poem in tangible human experience. The discarded bed symbolizes a rejection or loss of traditional structures of comfort, further amplifying the tension between the yearning for love and the disillusionments of life.

Olson’s poetic style in "Objects" relies on a conversational yet lyrical tone, creating a dialogue between the speaker, the addressee, and the symbolic Venus. The enjambment and free verse mirror the fluidity of thought, allowing the poem to shift seamlessly between celestial and earthly realms. This fluid structure echoes the poem?s thematic exploration of the interplay between ideals and reality.

Ultimately, "Objects" is a meditation on the human propensity to project emotions onto the external world, only to find that such projections often amplify internal conflicts. Venus becomes a mirror for the addressee’s struggles with love, longing, and disappointment, as well as a reminder of the enduring power of symbols to both inspire and unsettle. Olson’s deft weaving of celestial imagery and personal reflection invites readers to contemplate their own relationship with the ideals they pursue and the realities they inhabit.

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