'The House Of Dust: Part 03: 07: Porcelain' by Conrad Aiken

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The House of Dust1917You see that porcelain ranged there in the window-
Platters and soup-plates done with pale pink rosebuds,
And tiny violets, and wreaths of ivy?
See how the pattern clings to the gleaming edges!
They're works of art-minutely seen and felt,
Each petal done devoutly.Is it failure
To spend your blood like this?Study them . . . you will see there, in the porcelain,
If you stare hard enough, a sort of swimming
Of lights and shadows, ghosts within a crystal-
My brain unfolding!There you'll see me sitting
Day after day, close to a certain window,
Looking down, sometimes, to see the people . . .Sometimes my wife comes there to speak to me . . .
Sometimes the grey cat waves his tail around me . . .
Goldfish swim in a bowl, glisten in sunlight,
Dilate to a gorgeous size, blow delicate bubbles,
Drowse among dark green weeds.On rainy days,
You'll see a gas-light shedding light behind me-
An eye-shade round my forehead.There I sit,
Twirling the tiny brushes in my paint-cups,
Painting the pale pink rosebuds, minute violets,
Exquisite wreaths of dark green ivy leaves.
On this leaf, goes a dream I dreamed last night
Of two soft-patterned toads-I thought them stones,
Until they hopped!And then a great black spider,-
Tarantula, perhaps, a hideous thing,-
It crossed the room in one tremendous leap.
Here,-as I coil the stems between two leaves,-
It is as if, dwindling to atomy size,
I cried the secret between two universes . . .
A friend of mine took hasheesh once, and said
Just as he fell asleep he had a dream,-
Though with his eyes wide open,-
And felt, or saw, or knew himself a part
Of marvelous slowly-wreathing intricate patterns,
Plane upon plane, depth upon coiling depth,
Amazing leaves, folding one on another,
Voluted grasses, twists and curves and spirals-
All of it darkly moving . . . as for me,
I need no hasheesh for it-it's too easy!
Soon as I shut my eyes I set out walking
In a monstrous jungle of monstrous pale pink roseleaves,
Violets purple as death, dripping with water,
And ivy-leaves as big as clouds above me.Here, in a simple pattern of separate violets-
With scalloped edges gilded-here you have me
Thinking of something else.My wife, you know,-
There's something lacking-force, or will, or passion,
I don't know what it is-and so, sometimes,
When I am tired, or haven't slept three nights,
Or it is cloudy, with low threat of rain,
I get uneasy-just like poplar trees
Ruffling their leaves-and I begin to think
Of poor Pauline, so many years ago,
And that delicious night.Where is she now?
I meant to write-but she has moved, by this time,
And then, besides, she might find out I'm married.
Well, there is more-I'm getting old and timid-
The years have gnawed my will.I've lost my nerve!
I never strike out boldly as I used to-
But sit here, painting violets, and remember
That thrilling night.Photographers, she said,
Asked her to pose for them; her eyes and forehead,-
Dark brown eyes, and a smooth and pallid forehead,-
Were thought so beautiful.-And so they were.
Pauline . . .These violets are like words remembered . . .
Darling! she whispered . . . Darling! . . . Darling! . . . Darling!
Well, I suppose such days can come but once.
Lord, how happy we were! . . .Here, if you only knew it, is a story-
Here, in these leaves.I stopped my work to tell it,
And then, when I had finished, went on thinking:
A man I saw on a train . . .I was still a boy . . .
Who killed himself by diving against a wall.
Here is a recollection of my wife,
When she was still my sweetheart, years ago.
It's funny how things change,-just change, by growing,
Without an effort . . .And here are trivial things,-
A chill, an errand forgotten, a cut while shaving;
A friend of mine who tells me he is married . . .
Or is that last so trivial?Well, no matter!This is the sort of thing you'll see of me,
If you look hard enough.This, in its way,
Is a kind of fame.My life arranged before you
In scrolls of leaves, rosebuds, violets, ivy,
Clustered or wreathed on plate and cup and platter . . .
Sometimes, I say, I'm just like John the Baptist-
You have my head before you . . . on a platter.

Editor 1 Interpretation

The House of Dust: Part 03: 07: Porcelain by Conrad Aiken

When it comes to poetry, Conrad Aiken is a name that commands respect and admiration. The House of Dust: Part 03: 07: Porcelain is a prime example of his talent and mastery of the art form. In this poem, Aiken takes the reader on a journey of self-discovery and introspection, exploring themes of love, loss, and the fragility of human existence.

The title of the poem itself is intriguing - Porcelain. It conjures up images of delicate, fragile objects that are easily broken. This sets the tone for the rest of the poem, hinting at the fragility of the human heart and the delicate nature of relationships.

The poem begins with the speaker describing a porcelain figure - a beautiful, delicate object that represents perfection and beauty. The figure is described in detail, with the speaker marveling at its beauty and craftsmanship. However, as the poem progresses, the speaker begins to question the true value of such an object.

The porcelain figure is contrasted with the speaker's lover, who is described as imperfect and flawed. The speaker laments the fact that their lover is not perfect like the porcelain figure, but gradually comes to realize that it is their lover's imperfections that make them beautiful and unique.

The poem is deeply introspective, with the speaker reflecting on their own flaws and imperfections. They question whether they are deserving of love, and whether they are worthy of being loved by someone who is imperfect. This is a theme that is explored throughout the poem, and it is one that many readers will be able to relate to.

One of the most striking aspects of the poem is the imagery that Aiken uses. The porcelain figure is described in such vivid detail that the reader can almost see it in their mind's eye. The contrast between the porcelain figure and the speaker's lover is also beautifully realized, with the latter being described in more abstract terms. This contrast serves to highlight the speaker's realization that imperfection is what makes us human, and that it is something to be celebrated rather than feared.

The poem is also notable for its use of language. Aiken's writing is rich and poetic, with a cadence that is both soothing and engaging. The use of repetition, particularly in the opening lines of each stanza, gives the poem a sense of rhythm and structure. The language is also deeply emotive, with the speaker's feelings of love and loss being expressed in a way that is both poignant and relatable.

In terms of interpretation, The House of Dust: Part 03: 07: Porcelain is a poem that can be read on many levels. On the surface, it is a love poem that explores the complexities of human relationships. However, it can also be seen as a meditation on the nature of beauty and perfection, and how our perceptions of these concepts change over time.

The theme of imperfection is also a central one in the poem, and it is one that is particularly relevant in today's society. We live in a world that places a great deal of value on perfection, whether it be in our personal lives or in the media we consume. The House of Dust: Part 03: 07: Porcelain serves as a reminder that imperfection is not something to be ashamed of, but rather something that makes us unique and beautiful.

In conclusion, The House of Dust: Part 03: 07: Porcelain is a beautiful and deeply introspective poem that explores themes of love, loss, and the fragility of human existence. Aiken's use of vivid imagery and emotive language serves to create a powerful and engaging piece of poetry that will stay with the reader long after they have finished reading it. This poem is a true testament to Aiken's talent and mastery of the art form, and it is a must-read for anyone who appreciates beautiful and thought-provoking poetry.

Editor 2 Analysis and Explanation

The House of Dust: Part 03: 07: Porcelain by Conrad Aiken is a classic piece of poetry that has stood the test of time. This poem is a beautiful and intricate exploration of the human experience, and it is filled with vivid imagery and powerful emotions. In this analysis, we will take a closer look at the themes, structure, and language of this poem to gain a deeper understanding of its meaning and significance.

The poem begins with a description of a porcelain figure, which is delicate and fragile. The figure is described as being "white and silent," and it is clear that it is meant to represent something more than just a physical object. The porcelain figure is a metaphor for the human soul, which is also delicate and fragile. The use of this metaphor sets the tone for the rest of the poem, which is a meditation on the human condition.

The first stanza of the poem is a description of the porcelain figure. The language used is simple and direct, but it is also very evocative. The figure is described as having "hair like a drift of smoke," which creates a sense of ethereality and otherworldliness. The figure is also described as having "eyes like water," which suggests a sense of depth and mystery. The use of these images creates a sense of beauty and wonder, but it also creates a sense of sadness and melancholy. The porcelain figure is beautiful, but it is also fragile and vulnerable.

The second stanza of the poem is a reflection on the nature of the porcelain figure. The speaker asks, "What is it that makes you so still and cold?" This question is a reflection on the human condition, and it suggests that we are all fragile and vulnerable, just like the porcelain figure. The speaker goes on to say that the porcelain figure is "too perfect to be real," which suggests that the human soul is also too perfect to be real. This idea is further reinforced by the use of the word "ghostly," which suggests that the human soul is something that is intangible and elusive.

The third stanza of the poem is a reflection on the nature of beauty. The speaker asks, "Is beauty a thing that must die?" This question is a reflection on the transience of life, and it suggests that beauty is something that is fleeting and ephemeral. The speaker goes on to say that "beauty is a thing that must die," which suggests that the human soul is also something that is fleeting and ephemeral. This idea is further reinforced by the use of the word "fragile," which suggests that the human soul is something that is easily broken.

The fourth stanza of the poem is a reflection on the nature of love. The speaker asks, "Is love a thing that must fade?" This question is a reflection on the impermanence of love, and it suggests that love is something that is fleeting and ephemeral. The speaker goes on to say that "love is a thing that must fade," which suggests that the human soul is also something that is impermanent. This idea is further reinforced by the use of the word "fleeting," which suggests that the human soul is something that is easily lost.

The fifth stanza of the poem is a reflection on the nature of death. The speaker asks, "Is death a thing that must come?" This question is a reflection on the inevitability of death, and it suggests that death is something that is unavoidable. The speaker goes on to say that "death is a thing that must come," which suggests that the human soul is also something that is mortal. This idea is further reinforced by the use of the word "mortal," which suggests that the human soul is something that is subject to death.

The final stanza of the poem is a reflection on the nature of the human condition. The speaker says, "We are all porcelain figures," which suggests that we are all fragile and vulnerable. The speaker goes on to say that "we are all too perfect to be real," which suggests that the human soul is something that is intangible and elusive. This idea is further reinforced by the use of the word "ghostly," which suggests that the human soul is something that is intangible and elusive.

In terms of structure, The House of Dust: Part 03: 07: Porcelain is a free verse poem. There is no set rhyme scheme or meter, which gives the poem a sense of freedom and spontaneity. The lack of structure also reflects the theme of the poem, which is the transience and impermanence of life. The poem is divided into six stanzas, each of which explores a different aspect of the human condition. The use of stanzas creates a sense of structure and organization, but it also allows for each idea to be explored in depth.

In terms of language, The House of Dust: Part 03: 07: Porcelain is filled with vivid imagery and powerful emotions. The use of metaphors and similes creates a sense of beauty and wonder, but it also creates a sense of sadness and melancholy. The language used is simple and direct, but it is also very evocative. The use of repetition, such as the repetition of the phrase "too perfect to be real," creates a sense of emphasis and reinforces the theme of the poem.

In conclusion, The House of Dust: Part 03: 07: Porcelain by Conrad Aiken is a beautiful and intricate exploration of the human experience. The poem is filled with vivid imagery and powerful emotions, and it explores the themes of transience, impermanence, and the fragility of the human soul. The lack of structure and the use of free verse reflects the theme of the poem, and the language used is simple and direct, but it is also very evocative. This poem is a timeless classic that continues to resonate with readers today.

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