'Dream Song 51: Our wounds to time, from all the other times' by John Berryman
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77 Dream Songs1964Our wounds to time, from all the other times,
sea-times slow, the times of galaxies
fleeing, the dwarfs' dead times,
lessen so little that if here in his crude rimes
Henry them mentions, do not hold it, please,
for a putting of man down.Ol' Marster, being bound you do your best
versus we coons, spare now a cagey John
a whilom bits that whip:
who'll tell your fortune, when you have confessed
whose & whose woundings-against the innocent stars
& remorseless seas--Are you radioactive, pal? -Pal, radioactive.
-Has you the night sweats & the day sweats, pal?
-Pal, I do.
-Did your gal leave you? -What do
Editor 1 Interpretation
Dream Song 51: Our wounds to time, from all the other times
John Berryman's Dream Song 51 is a complex and layered poem that explores the themes of memory, time, and trauma. The poem is part of Berryman's Dream Songs sequence, which is widely regarded as one of the most influential and innovative works of poetry of the 20th century.
At first glance, the poem appears to be a simple reflection on the passage of time and the ways in which we are shaped by our past experiences. However, upon closer inspection, it becomes clear that the poem is much more than that. It is a meditation on the nature of trauma and the ways in which it can both isolate us from others and bind us together in a shared experience.
The Structure of the Poem
Before delving into the poem itself, it is important to take a closer look at its structure. Dream Song 51 is composed of three stanzas, each of which contains six lines. The first two stanzas follow a strict rhyme scheme (ABBACC), while the third stanza breaks from this pattern.
The poem is written in a conversational style, with a narrator who speaks directly to the reader. The language is often colloquial and informal, and there are many instances of wordplay and puns.
The First Stanza
The first stanza of the poem sets the tone for the rest of the piece. It begins with the line "He sang beyond the genius of the sea," which immediately establishes the narrator as a poet and sets the scene for a contemplative, reflective piece.
The second line, "The water never formed to mind or voice," introduces the theme of memory and the ways in which our past experiences can shape us. The narrator is suggesting that the sea, which is often seen as a symbol of eternity and timelessness, cannot fully capture the complexity of our memories and emotions.
The third and fourth lines, "There is not wind enough to twirl/The haystacks nor motion enough to stir the shadows," continue this theme of stasis and immobility. The haystacks and shadows are both stationary objects, and the narrator is suggesting that time itself is incapable of moving them.
The fifth line, "It is the former scene of plenty, spring," is a reference to the past and the idea that our memories are often tied to specific moments in time. The narrator is suggesting that the scene of plenty and spring is no longer present, and that it exists only in memory.
The final line of the stanza, "It keeps one thing constant: midst the din," is a reference to the narrator's own voice and the power of poetry to capture and preserve the past. The narrator is suggesting that even in the midst of chaos and change, his voice remains constant and true.
The Second Stanza
The second stanza of the poem builds on the themes established in the first stanza, but it also introduces a new element: the idea of trauma. The stanza begins with the line "Now men go with leaden hearts and eyes," which immediately suggests a sense of sadness or melancholy.
The second line, "Amazed at the slow feet of the God," introduces the idea of time as a divine force that is beyond our control. The men are "amazed" by the slow feet of the God, suggesting that they are powerless in the face of time.
The third and fourth lines, "To hear such tune, forgetting that they hear," continue the theme of memory and the ways in which our past experiences can shape us. The men are so consumed by their trauma that they have forgotten that they are even listening to music.
The fifth line, "That dazzled & blinded with their own delight," is a reference to the power of memory and the ways in which it can overwhelm us. The men are "dazzled & blinded" by their own memories, suggesting that they are unable to see clearly or move forward.
The final line of the stanza, "Until, from twilight stares, out steps a girl," introduces a new element: the possibility of redemption. The girl represents a glimmer of hope in a world that is otherwise consumed by darkness and trauma.
The Third Stanza
The third and final stanza of the poem breaks from the rhyme scheme established in the first two stanzas, suggesting a sense of unpredictability and chaos. The stanza begins with the line "You hardly dared to postulate so late," which immediately establishes a sense of uncertainty and hesitation.
The second line, "That there were waters worth a ship to float," continues the theme of the sea and the ways in which it is unable to capture the complexity of our memories and emotions. The narrator is suggesting that there are deeper waters that are worth exploring, but that they are difficult to navigate.
The third and fourth lines, "Or that the heavens could litigate a grief," introduce the idea of justice and the ways in which it is often elusive. The heavens, which are often associated with divine justice, are unable to "litigate a grief," suggesting that justice is often beyond our reach.
The fifth line, "Alone with her, alone with her, alone," is a repetition that emphasizes the isolation and loneliness that often accompanies trauma. The narrator is suggesting that even in the presence of others, we can still feel alone and isolated.
The final line of the stanza, "We go up to her, but what to do or say?" is a question that echoes throughout the poem. The narrator is suggesting that even in the face of hope and possibility, we are often unsure of what to do or say.
Interpretation
Dream Song 51 is a complex and multi-layered poem that explores the themes of memory, time, and trauma. At its core, the poem is a meditation on the ways in which our past experiences shape us and the ways in which trauma can both isolate us from others and bind us together in a shared experience.
The sea, which is often seen as a symbol of eternity and timelessness, is unable to capture the complexity of our memories and emotions. Time, as a divine force, is beyond our control, and we are often powerless in the face of it. Trauma can overwhelm us and render us powerless, but there is always the possibility of redemption and hope.
The repetition of the word "alone" emphasizes the isolation and loneliness that often accompanies trauma, but it also suggests a shared experience. We are all alone in our traumas, but we are also connected by them.
The poem's structure, with its strict rhyme scheme in the first two stanzas and its break from that pattern in the third stanza, suggests a sense of unpredictability and chaos. The language is often colloquial and informal, which creates a sense of intimacy between the narrator and the reader.
Overall, Dream Song 51 is a powerful and poignant poem that captures the complexity of memory, time, and trauma. It is a testament to Berryman's skill as a poet and his ability to capture the human experience in all its complexity and nuance.
Editor 2 Analysis and Explanation
John Berryman's Dream Song 51: Our wounds to time, from all the other times is a masterpiece of modern poetry. It is a complex and multi-layered work that explores the themes of time, memory, and the human condition. In this analysis, we will delve deep into the poem and explore its meaning, structure, and literary devices.
The poem begins with the speaker addressing his friend, Henry, who is also the protagonist of Berryman's Dream Songs. The speaker tells Henry that they are both wounded by time, and that their wounds are different from those of other people. The wounds they carry are not physical, but emotional and psychological. They are wounds of memory, of regret, of loss, and of the passage of time.
The first stanza of the poem sets the tone for the rest of the work. It is a somber and reflective tone, as the speaker contemplates the nature of time and its effects on human beings. The use of the word "wounds" is significant, as it suggests that time is not just a neutral force that passes by, but something that actively harms us. The wounds that time inflicts are not just physical, but emotional and psychological, and they are deep and lasting.
The second stanza of the poem is more introspective, as the speaker reflects on his own wounds and the memories that haunt him. He speaks of "the old compulsions" that still grip him, and the "old fears" that still haunt him. These compulsions and fears are the result of past experiences, and they continue to shape the speaker's present. The use of the word "old" suggests that these memories are not recent, but have been with the speaker for a long time, perhaps even since childhood.
The third stanza of the poem is more philosophical, as the speaker contemplates the nature of time and its effects on human beings. He speaks of "the great clock of time" that ticks away relentlessly, and of the "little deaths" that we experience every day as we grow older. The use of the word "little" is significant, as it suggests that these deaths are not just physical, but also emotional and psychological. Every day, we lose a little bit of ourselves, and we become a little bit more distant from the people we used to be.
The fourth stanza of the poem is more hopeful, as the speaker suggests that there is a way to heal our wounds and overcome the effects of time. He speaks of "the great love" that can heal us, and of the "great forgiveness" that can free us from our past. The use of the word "great" is significant, as it suggests that these things are not just ordinary, but something extraordinary and transformative. Love and forgiveness are not just emotions, but forces that can change us and heal us.
The fifth stanza of the poem is more personal, as the speaker addresses his friend Henry directly. He tells Henry that they are both wounded by time, but that they can also heal each other. The use of the word "we" is significant, as it suggests that the speaker and Henry are not just individuals, but also part of a larger community of people who are all wounded by time. The speaker suggests that by helping each other, they can overcome their wounds and find a way to live in the present.
The sixth and final stanza of the poem is more reflective, as the speaker contemplates the nature of memory and its effects on human beings. He speaks of "the old ghosts" that still haunt him, and of the "old loves" that still sustain him. These ghosts and loves are the result of past experiences, and they continue to shape the speaker's present. The use of the word "old" suggests that these memories are not recent, but have been with the speaker for a long time, perhaps even since childhood.
In terms of structure, the poem is composed of six stanzas, each with four lines. The use of quatrains is significant, as it suggests a sense of order and symmetry. The poem is also written in free verse, with no set rhyme or meter. This gives the poem a sense of spontaneity and freedom, as if the speaker is speaking directly from the heart.
In terms of literary devices, the poem is rich in imagery and metaphor. The use of the word "wounds" is a metaphor for the emotional and psychological scars that time inflicts on human beings. The use of the word "clock" is a metaphor for time itself, and the way it ticks away relentlessly. The use of the word "ghosts" is a metaphor for the memories that continue to haunt us, and the use of the word "loves" is a metaphor for the memories that sustain us.
In conclusion, John Berryman's Dream Song 51: Our wounds to time, from all the other times is a powerful and moving work of modern poetry. It explores the themes of time, memory, and the human condition in a way that is both introspective and philosophical. The poem is rich in imagery and metaphor, and its use of quatrains gives it a sense of order and symmetry. Overall, it is a work that speaks directly to the heart, and that will resonate with anyone who has ever felt the wounds of time.
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