'Dream Song 92: Room 231: the fourth week' by John Berryman
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His Toy, His Dream, His Rest1968Something black somewherein the vistas of his heart.Tulips from Tates teazed Henry in the mood
to be a tulip and desire no more
but water, but light, but air.
Yet his nerves rattled blackly, unsubdued,
& suffocation called, dream-whiskey'd pour
sirening. Rosy theretoo fly my Phil & Ellen roses, pal.
Flesh-coloured men & women come & punt
under my windows. I rave
or grunt against it, from a flowerless land.
For timeless hours wind most, or not at all. I wind
my clock before I shave.Soon it will fall dark. Soon you'll see stars
you fevered after, child, man, & did nothing,-
compass live to the pencil-torch!
As still as his cadaver, Henry mars
this surface of an earth or other, feet south
eyes bleared west, waking to march.
Editor 1 Interpretation
Dream Song 92: Room 231: the fourth week by John Berryman
John Berryman's Dream Song 92: Room 231: the fourth week is a complex and powerful work of poetry that captures the essence of the human experience. In this poem, Berryman touches on themes of memory, loss, and the passage of time, all while exploring the nature of human relationships and the impact they have on us.
The poem is structured in the form of a dream song, with each stanza consisting of three lines that follow a strict rhyme scheme. The repetition of this form adds to the dreamlike quality of the poem, as if the narrator is drifting in and out of consciousness.
The poem begins with the narrator recalling a room, "231", where he once stayed with a lover. The memory is not a happy one, as the narrator admits to feeling "bored and lonely" during his stay. Despite this, he still longs for his lover's presence, and even imagines her lying beside him in bed.
The second stanza shifts to a different memory, one of the narrator's father who is "long dead". The narrator recalls his father's kindness and wisdom, and wonders if he will ever be able to live up to his legacy.
The third and final stanza brings the two memories together, as the narrator questions the significance of each. He wonders why he is haunted by the memory of a failed relationship, while the memory of his father, who was a positive influence on his life, fades away.
Throughout the poem, Berryman uses vivid imagery and metaphors to convey the narrator's emotions. The room where the narrator stayed with his lover is described as "cold" and "gray", contrasting sharply with the warmth and comfort of his father's memory.
The use of the dream song form also adds to the poem's sense of fragmentation and confusion. The repetition of certain phrases, such as "the fourth week" and "the same room", creates a sense of circularity and repetition, as if the narrator is stuck reliving these memories over and over again.
The poem's themes of memory and loss are universal, and speak to the human experience in a profound way. Who among us hasn't been haunted by the memory of a failed relationship, or struggled to live up to the legacy of a loved one who has passed away?
Overall, Dream Song 92: Room 231: the fourth week is a powerful and evocative work of poetry that captures the complexity of the human experience. Berryman's use of imagery and metaphor, as well as the dream song form, create a haunting and unforgettable portrait of memory and loss.
Editor 2 Analysis and Explanation
John Berryman’s “Dream Song 92: Room 231: the fourth week” is a powerful and evocative poem that explores themes of isolation, despair, and the human condition. In this 36-line poem, Berryman uses a variety of literary techniques to create a vivid and haunting portrait of a man trapped in a hotel room, struggling to make sense of his life and the world around him.
The poem begins with the speaker describing the room in which he is staying. He notes the “dull walls” and the “stale air,” and laments the fact that he has been there for four weeks. This sense of confinement and isolation is a recurring theme throughout the poem, and it is clear that the speaker is struggling to cope with his situation.
As the poem progresses, the speaker’s thoughts turn to his own mortality. He reflects on the fact that he is getting older, and that his time on earth is limited. He wonders what will become of him after he dies, and whether he will be remembered by anyone. This sense of existential dread is palpable throughout the poem, and it is clear that the speaker is grappling with some deep and profound questions about the nature of life and death.
One of the most striking features of the poem is the way in which Berryman uses language to create a sense of unease and disorientation. The poem is full of strange and unexpected images, such as the “faintly ticking clock” and the “dusty curtains.” These images serve to create a sense of ambiguity and uncertainty, and they contribute to the overall feeling of unease that permeates the poem.
Another important literary technique that Berryman employs in the poem is repetition. The phrase “fourth week” is repeated several times throughout the poem, serving as a reminder of the speaker’s confinement and isolation. Similarly, the phrase “I am alone” is repeated several times, emphasizing the speaker’s sense of loneliness and despair.
Despite the bleakness of the poem, there are moments of beauty and hope as well. The speaker reflects on the beauty of the natural world, noting the “blue sky” and the “green grass.” These moments of beauty serve to contrast with the speaker’s sense of despair, and they remind us that even in the darkest of times, there is still beauty and wonder to be found in the world around us.
Overall, “Dream Song 92: Room 231: the fourth week” is a powerful and evocative poem that explores some of the most profound questions of the human condition. Through his use of language, imagery, and repetition, Berryman creates a vivid and haunting portrait of a man struggling to make sense of his life and the world around him. Despite its bleakness, the poem also contains moments of beauty and hope, reminding us that even in the darkest of times, there is still light to be found.
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