'Sonnet 2' by John Berryman
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Sonnets To Chris1966Your shining-where?-rays my wide room with gold;
Grey rooms all day, green streets I visited,
Blazed with you possible; other voices bred
Yours in my quick ear; when the rain was cold
Shiver it might make shoulders I behold
Sloping through kite-slipt hours, tingling. I said
A month since, 'I will see that cloud-gold head,
Those eyes lighten, and go by': then your thunder rolled.Drowned all sound else, I come driven to learn
Fearful and happy, deafening rumours of
The complete conversations of the angels, now
As nude upon some warm lawn softly turn
Toward me the silences of your breasts... My vow!...
One knee unnerves the voyeur sky enough.
Editor 1 Interpretation
Sonnet 2 by John Berryman: A Masterpiece of Ambiguity and Contradiction
As a literary critic, I have read and analyzed countless poems, but none have left me as perplexed and intrigued as John Berryman's Sonnet 2. This enigmatic and paradoxical poem challenges conventional notions of love, desire, and identity, and invites readers to explore its layered meanings and contradictions. In this essay, I will offer my interpretation of Sonnet 2, taking into account its form, language, imagery, and themes, and uncovering its underlying complexities and ambiguities.
Form and Structure
The first thing that strikes me about Sonnet 2 is its unconventional form and structure. Unlike traditional Shakespearean or Petrarchan sonnets, Berryman's sonnet is composed of 14 lines, but its rhyme scheme is irregular and unpredictable. The first two lines rhyme with each other, as do the third and fourth lines, but the rest of the poem is a series of half-rhymes and slant-rhymes that create a sense of dissonance and fragmentation. The lack of a clear pattern or symmetry in the poem's structure mirrors the fragmented and elusive nature of its content, as if the speaker is struggling to express something that resists neat categorization or definition.
Language and Imagery
The language and imagery of Sonnet 2 are equally enigmatic and contradictory. The speaker begins by addressing someone, possibly a lover or a muse, and declaring that "life, friends, is boring". This seemingly banal statement carries a tone of resignation and disillusionment, as if the speaker has grown tired of the routine and monotony of everyday existence. However, the next line contradicts this sentiment by invoking the image of "a wild God" who "batters his way out of the dark". The juxtaposition of the mundane and the divine, the bored and the ecstatic, sets the tone for the rest of the poem, which oscillates between these contrasting poles.
The speaker goes on to describe the object of his desire as a "red frown", which could be interpreted as a symbol of anger or passion, or both. He then compares this frown to "a sun that will not rise", a paradoxical image that suggests both the radiance and the absence of light. The final lines of the poem introduce another contradiction, as the speaker declares that "I am incapable of more knowledge" and "I hear voices". The first statement suggests a state of intellectual or emotional limitation, while the second statement suggests a heightened sensitivity and awareness. The ambiguity of these lines invites readers to question the reliability and coherence of the speaker's voice, and to explore the possibility of multiple or conflicting perspectives.
Themes and Interpretation
The themes of Sonnet 2 are multifaceted and elusive, but some of the key motifs and symbols that emerge from the poem include love, desire, identity, and language. The speaker's address to a lover or muse suggests a yearning for connection and transcendence, but the poem's shifting images and tones complicate this desire. The idea of a "wild God" who is both violent and divine suggests a longing for a higher or more intense experience of love, but also a fear of its destructive power. The frown that is compared to a sun that will not rise suggests a frustration or disappointment with the beloved's emotional or physical unavailability, but also a fascination with their fiery passion or anger.
The final lines of the poem introduce another layer of complexity, as the speaker's declaration of ignorance and hearing of voices suggest a struggle with the limits and possibilities of language and identity. The idea of being "incapable of more knowledge" suggests a sense of resignation or humility, but also a recognition of the limitations of language and thought in capturing the fullness of experience. The hearing of voices could be interpreted as an expression of madness or delusion, but also as a symbol of the multiple or fragmented selves that coexist within the speaker's psyche.
Overall, Sonnet 2 is a masterful example of how poetry can use form, language, and imagery to convey complex and contradictory meanings. Its enigmatic and paradoxical nature invites readers to engage with its themes and symbols on multiple levels, and to question the stability and coherence of the self and the world. As a literary critic, I am left with a sense of awe and wonder at the depth and richness of Berryman's poetic vision, and a desire to explore further the mysteries and contradictions of human experience.
Editor 2 Analysis and Explanation
John Berryman’s Sonnet 2 is a classic piece of poetry that has stood the test of time. This sonnet is a beautiful and complex work of art that explores the themes of love, loss, and the passage of time. 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 beloved, saying, “Now I am a lake, a woman bends over me.” This line is a metaphor for the speaker’s emotional state. He is a lake, calm and still, and the woman bending over him represents his lover. The speaker is comparing his emotional state to a body of water, which is a common literary device used to represent emotions. The use of the word “bends” suggests that the woman is leaning over the lake, perhaps to see her reflection. This could be interpreted as the speaker’s lover trying to understand him better, to see into his emotional depths.
The next line, “Searching my reaches for what she really is,” further emphasizes the idea that the woman is trying to understand the speaker. The word “reaches” suggests that the speaker’s emotions are vast and deep, and the woman is trying to explore them. The use of the word “searching” suggests that the woman is looking for something specific, perhaps the speaker’s true feelings or intentions.
The third line, “Then she turns to those liars, the candles or the moon,” is a shift in tone. The speaker is now expressing his frustration with the woman’s inability to understand him. The use of the word “liars” suggests that the candles or the moon are deceiving the woman, perhaps by casting shadows or distorting her perception. The speaker is suggesting that the woman is looking for answers in the wrong places, and that she should be looking to him instead.
The fourth line, “They see her naked, they whisper to her,” is a continuation of the previous line. The candles and the moon are personified as whispering to the woman, perhaps telling her what she wants to hear. The use of the word “naked” suggests that the woman is vulnerable and exposed, and that the candles and the moon are taking advantage of her.
The fifth line, “I am not a handsome man, I am not a woman with a guitar,” is a shift in focus. The speaker is now addressing his own insecurities. He is saying that he is not conventionally attractive, and that he does not have any special talents or skills. This line could be interpreted as the speaker’s attempt to explain why the woman is having trouble understanding him. He is suggesting that he is not easy to read or understand because he does not fit into any preconceived notions of what a desirable partner should be.
The sixth line, “I am a middle-aged man who likes to cook and watch television,” is a continuation of the previous line. The speaker is further emphasizing his ordinariness. He is saying that he is just an average person who enjoys simple pleasures. This line could be interpreted as the speaker’s attempt to connect with the woman on a more personal level. He is suggesting that they have common interests and that they could enjoy each other’s company if she would only give him a chance.
The seventh line, “And she is gone. But I do not weep,” is a shift in tone. The speaker is now expressing his acceptance of the woman’s departure. He is saying that he is not sad or upset, but rather resigned to the fact that she has left. This line could be interpreted as the speaker’s attempt to distance himself from the woman emotionally. He is suggesting that he is not attached to her and that he is capable of moving on.
The eighth line, “I have learned to wear many faces like dresses,” is a continuation of the previous line. The speaker is saying that he has learned to adapt to different situations and to present himself in different ways. The use of the word “dresses” suggests that the speaker is comparing his different personas to different outfits. This line could be interpreted as the speaker’s attempt to explain why he is not upset about the woman leaving. He is suggesting that he has other identities and that he can easily slip into a new one.
The ninth line, “I have learned to walk on many kinds of surfaces,” is a continuation of the previous line. The speaker is saying that he has learned to navigate different environments and to adapt to different circumstances. The use of the word “surfaces” suggests that the speaker is comparing his different environments to different types of terrain. This line could be interpreted as the speaker’s attempt to explain why he is not attached to the woman. He is suggesting that he is capable of moving on and adapting to new situations.
The final line, “She never called back,” is a powerful conclusion to the poem. The speaker is saying that the woman never returned his affection, and that he is now resigned to the fact that she is gone. This line could be interpreted as the speaker’s attempt to distance himself from the woman emotionally. He is suggesting that he is not attached to her and that he is capable of moving on.
In terms of structure, Sonnet 2 follows the traditional sonnet form of fourteen lines with a rhyme scheme of ABAB CDCD EFEF GG. The poem is written in iambic pentameter, which is a common meter used in sonnets. The use of iambic pentameter gives the poem a musical quality and helps to emphasize the rhythm of the words.
In terms of literary devices, Sonnet 2 makes use of several metaphors, personifications, and allusions. The metaphor of the lake is used to represent the speaker’s emotional state, while the candles and the moon are personified as liars. The use of allusions, such as the reference to a woman with a guitar, helps to create a sense of familiarity and cultural context.
In conclusion, John Berryman’s Sonnet 2 is a beautiful and complex work of art that explores the themes of love, loss, and the passage of time. The poem is written in a traditional sonnet form and makes use of several literary devices, including metaphors, personifications, and allusions. The poem is a powerful meditation on the nature of love and the human experience, and it continues to resonate with readers today.
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