Original poem reprinted online here: "To a Young Girl in Washington Square Park" by George Green
Originally read: July 4, 2013
More information about the Poet: George Green
Originally read: July 4, 2013
More information about the Poet: George Green
Written in five quatrains, there's definitely a separation of focus from the first sections to the last sections as far as the subject matter; however, the speaker is consistent in the use of his imagination -- to transpose himself to as a "white knight" or, rather, someone of action intertwined not only with the current situation, but the past situation as well. Note, I use the word "white knight" as a term as someone chivalrous but yet creates a "maiden" to save or disavow -- never the middle.
Take for example the first stanza, when the speaker is addressing the girl, the allusions to the "Pre-Raphaelite Cordelia" mixed with "rock and roll" play with the idea of someone like Cordelia who is tragically loyal, mixed with the her "tarted up for rock and roll" -- a sort of a literary and contemporary reference to the Madonna/Whore idea -- however, the allusions aren't used too seriously.
As the discussion of her beaut bleeds into the next stanza, "Your beauty is the barrel you'll go over / the falls in, and you're copping now, I see-- / I hope it's only pot" with these lines the speaker parallels the speaker's looks as something tragically comedic through the image of "beauty" falling over the falls. But ah, "Oh I would row / you back to Astolat, and swiftly too, / but that's just not my job." I think here is where I thought of the term "white knight" to describe the speaker -- the speaker is so much in this fantastical mindset that the reference to Astolat, chivalry, and knighthood come into play, well, a little too seriously or too playfully -- either one. When I read this the first time, I thought a little too playful, then, more recently, I thought a little too serious. I think it's because the last two stanzas impacted my interpretation of the speaker.
Moving on, the last line in the second stanza disavows the subject, "but that's just not my job. You're on your own, / and while you gambol off to get your buzz," so drugs come to mind for me here, because of "buzz" and "pot." And I think this is when the speaker let's go of the maiden and focuses on the knight. Something more ideal -- a woman who ultimately fits the "whore" part of the complex, or the "white knight" who is bronzed, broken, but statuesque unchanging image.
the focus is on the "Girabaldi statue" above the girl and how the speaker observes that the statue, "tries to pull its damaged sword, snapped off my hooligans eons ago." Furthermore the speaker branches from that image to the comparison of "Marshal Ney." The further and further the speaker branches off to the metaphor and allusions, the more apparent, at least from my perspective, the speaker runs away from the current situation. Why do I think that? When the speaker intruded himself into the second stanza he made it apparent that the speaker is a part of the poem.
But how does the Marshal Ney allusion fit into this poem? Well, the speaker continues to tell the historical background of "Marshal Ney, "who charged at Waterloo with half a saber / brandished above his powder-blackened head." Another reiteration of the knight, "Five horses fell from under him, before, / unscathed, he made it out at last, on foot," Like a movie sequence -- the male character.
And the last stanza solidifies this hero:
only to find disaster on the roads,
and gallantry in short supply; though he
would tramp along, apparently unshaken,
to Paris and a Bourbon firing squad.
Note the key word for me is "unshaken" that, regardless of disaster, lack of gallantry, and even dying, this character is unshaken. Immortal for the deeds he did. Now perspective shift back to the girl who the speaker would like to save, :"that's not my job" whose job is it then? The difference between the first and second part is saving -- and although both, apparently, need saving -- the impression of the speaker jumps out -- he's making the analogies to comply with his abilities -- "that's not my job."
I feel that the speaker is the one that needs saving from his imagination that works through branched out references of action, and enables the speaker's inaction.
Take for example the first stanza, when the speaker is addressing the girl, the allusions to the "Pre-Raphaelite Cordelia" mixed with "rock and roll" play with the idea of someone like Cordelia who is tragically loyal, mixed with the her "tarted up for rock and roll" -- a sort of a literary and contemporary reference to the Madonna/Whore idea -- however, the allusions aren't used too seriously.
As the discussion of her beaut bleeds into the next stanza, "Your beauty is the barrel you'll go over / the falls in, and you're copping now, I see-- / I hope it's only pot" with these lines the speaker parallels the speaker's looks as something tragically comedic through the image of "beauty" falling over the falls. But ah, "Oh I would row / you back to Astolat, and swiftly too, / but that's just not my job." I think here is where I thought of the term "white knight" to describe the speaker -- the speaker is so much in this fantastical mindset that the reference to Astolat, chivalry, and knighthood come into play, well, a little too seriously or too playfully -- either one. When I read this the first time, I thought a little too playful, then, more recently, I thought a little too serious. I think it's because the last two stanzas impacted my interpretation of the speaker.
Moving on, the last line in the second stanza disavows the subject, "but that's just not my job. You're on your own, / and while you gambol off to get your buzz," so drugs come to mind for me here, because of "buzz" and "pot." And I think this is when the speaker let's go of the maiden and focuses on the knight. Something more ideal -- a woman who ultimately fits the "whore" part of the complex, or the "white knight" who is bronzed, broken, but statuesque unchanging image.
the focus is on the "Girabaldi statue" above the girl and how the speaker observes that the statue, "tries to pull its damaged sword, snapped off my hooligans eons ago." Furthermore the speaker branches from that image to the comparison of "Marshal Ney." The further and further the speaker branches off to the metaphor and allusions, the more apparent, at least from my perspective, the speaker runs away from the current situation. Why do I think that? When the speaker intruded himself into the second stanza he made it apparent that the speaker is a part of the poem.
But how does the Marshal Ney allusion fit into this poem? Well, the speaker continues to tell the historical background of "Marshal Ney, "who charged at Waterloo with half a saber / brandished above his powder-blackened head." Another reiteration of the knight, "Five horses fell from under him, before, / unscathed, he made it out at last, on foot," Like a movie sequence -- the male character.
And the last stanza solidifies this hero:
only to find disaster on the roads,
and gallantry in short supply; though he
would tramp along, apparently unshaken,
to Paris and a Bourbon firing squad.
Note the key word for me is "unshaken" that, regardless of disaster, lack of gallantry, and even dying, this character is unshaken. Immortal for the deeds he did. Now perspective shift back to the girl who the speaker would like to save, :"that's not my job" whose job is it then? The difference between the first and second part is saving -- and although both, apparently, need saving -- the impression of the speaker jumps out -- he's making the analogies to comply with his abilities -- "that's not my job."
I feel that the speaker is the one that needs saving from his imagination that works through branched out references of action, and enables the speaker's inaction.
Comments
Post a Comment