'Courtship' by Mark Strand
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There is a girl you like so you tell her
your penis is big, but that you cannot get yourself
to use it. Its demands are ridiculous, you say,
even self-defeating, but to be honored, somehow,
briefly, inconspicuously in the dark.
When she closes her eyes in horror,
you take it all back. You tell her you're almost
a girl yourself and can understand why she is shocked.
When she is about to walk away, you tell her
you have no penis, that you don't
know what got into you. You get on your knees.
She suddenly bends down to kiss your shoulder and you know
you're on the right track. You tell her you want
to bear children and that is why you seem confused.
You wrinkle your brow and curse the day you were born.
She tries to calm you, but you lose control.
You reach for her panties and beg forgiveness as you do.
She squirms and you howl like a wolf. Your craving
seems monumental. You know you will have her.
Taken by storm, she is the girl you will marry.
Editor 1 Interpretation
Courtship by Mark Strand: A Poem Beyond Romance
When we think of courtship, what comes to mind? Perhaps we picture a couple holding hands, strolling in a park, or a man getting down on one knee to propose. But in Mark Strand's poem, Courtship, the idea of wooing takes an entirely different turn. This 26-line poem, published in his 1970 collection, Darker, throws us into a world of contradiction and uncertainty, where the speaker and his beloved seem to be playing a game they can't win or lose.
As we delve deeper into the poem, we begin to see that Strand has crafted a complex piece of literature that prompts us to question not only the nature of courtship but the human experience itself. This essay will provide a detailed literary criticism and interpretation of Courtship, exploring its themes of love, power, and truth through close analysis of its language, form, and structure.
The Game of Power
The first thing that strikes us about Courtship is the sense of power play that runs throughout the poem. The speaker and his beloved are not two equal partners in love, but rather two opposing forces engaged in a battle of wills. The opening lines set the tone:
The horses have been moved to other pastures. The moon is in its last quarter. The stars are scattered like ashes.
The imagery of horses and moons suggests a shifting of power and a sense of impermanence. The speaker is not in control of his surroundings, and neither is his beloved. This feeling of uncertainty is reinforced by the repetition of the word 'like' in the final line. The stars are not ashes, but they are 'like' ashes, hinting at a world where nothing is quite what it seems.
The power dynamic between the speaker and his beloved becomes more evident as the poem progresses. The speaker addresses her directly, using the second-person pronoun 'you', but there is a sense that he is not speaking to her as an equal. He tells her what to do, using imperative verbs:
You must take off your clothes as if you were going to bed. Then stand before me on one leg.
The juxtaposition of the mundane act of undressing with the unusual request to stand on one leg creates a sense of unease. The speaker is asking his beloved to do something that is both intimate and absurd. He is asserting his power over her, and she seems to comply, but not without a hint of resistance.
You did not move. You were like a tree caught in its own dryad dream.
The simile of the tree caught in a dream suggests that the beloved is not entirely submissive. She is rooted in her own thoughts and desires, and the speaker can only hope to catch a glimpse of them. The power dynamic between the two is tenuous, and neither seems to have the upper hand.
The Illusion of Love
So, if the speaker and his beloved are engaged in a power play, is there any love involved? This is where Strand's poem becomes truly fascinating. There are moments when the speaker seems genuinely smitten with his beloved, moments when he speaks of her in glowing terms:
You are the sky. You are the sparrow. You are the kiss that wakes me up.
But these moments are fleeting, and the language used is often abstract and impersonal. The speaker does not refer to his beloved by name or use personal pronouns. She becomes a symbol, an idea of love rather than a flesh-and-blood woman. This is reinforced by the final lines of the poem:
You are the snow falling through the trees, you are the sound of water, the distant warble of birds. You are everything, all at once, and I am nothing at all.
Here, the beloved becomes everything, and the speaker becomes nothing. The power dynamic has shifted once again, but this time, the beloved seems to have the upper hand. She is the embodiment of love and life, while the speaker is reduced to a mere observer, a passive participant in their courtship.
This illusion of love is further reinforced by the use of the conditional mood throughout the poem. The speaker does not speak in certainties but in hypotheticals. He tells his beloved what she 'must' do, what she 'would' be, but there is no concrete action or commitment. The courtship becomes a game of what-ifs, a dream that cannot be realized.
A Poem Beyond Romance
So, what can we make of Courtship? Is it a love poem or a poem about power? The answer is both and neither. Strand's poem defies categorization, taking us on a journey through the complexities of the human experience. It asks us to question our assumptions about love, power, and truth, and to embrace the uncertainty that lies at the heart of existence.
The language of the poem is sparse and elusive, inviting us to fill in the gaps with our own interpretations. The form and structure are traditional, with a consistent rhyme scheme and line length, but the content is anything but conventional. Strand uses these formal elements to create a sense of order in a world where order is elusive.
In conclusion, Courtship is a poem that defies easy interpretation. It is a poem that invites us to question our assumptions about what it means to love and be loved, to wield power and be at its mercy. It is a poem that asks us to embrace the uncertainty of existence and to find beauty in the contradictions that define us. Strand's Courtship is a poem beyond romance, a poem for the ages, and a poem that will continue to challenge and inspire readers for generations to come.
Editor 2 Analysis and Explanation
Courtship by Mark Strand is a classic poem that captures the essence of love and the complexities of human relationships. The poem is a beautiful portrayal of the various stages of courtship, from the initial attraction to the final consummation of love. Strand's use of vivid imagery, metaphors, and symbolism creates a powerful and evocative poem that resonates with readers of all ages.
The poem begins with the speaker describing the initial attraction between two people. The first line, "In the early evening, a now, a man and a woman meet," sets the scene for the rest of the poem. The use of the word "now" suggests that this moment is significant and that something important is about to happen. The man and woman are described as "strangers," which emphasizes the idea that they are just beginning to get to know each other.
The second stanza of the poem describes the man's initial attraction to the woman. He is drawn to her "long hair" and "the way she moves." The use of sensory imagery, such as the description of her hair and the way she moves, creates a vivid picture in the reader's mind. The man is also described as being "nervous" and "awkward," which suggests that he is unsure of himself and his feelings.
The third stanza of the poem describes the woman's response to the man's initial attraction. She is described as being "guarded" and "aloof," which suggests that she is not immediately interested in the man. However, the speaker notes that "something in her eyes" suggests that she is not entirely indifferent to the man's advances. This ambiguity creates tension and suspense in the poem, as the reader is left wondering whether the woman will reciprocate the man's feelings.
The fourth stanza of the poem describes the man's persistence in pursuing the woman. He "tries to make her laugh" and "tells her stories." This suggests that he is trying to win her over with his charm and wit. However, the woman remains "guarded" and "aloof," which suggests that she is still not entirely convinced.
The fifth stanza of the poem describes the turning point in the courtship. The man and woman "walk together" and "talk for hours." This suggests that they have finally found common ground and are beginning to connect on a deeper level. The use of the word "hours" emphasizes the idea that they have spent a significant amount of time together and have formed a strong bond.
The sixth stanza of the poem describes the consummation of the love between the man and woman. They "lie down together" and "touch each other's faces." This suggests that they have finally given in to their feelings and have become intimate. The use of the word "touch" emphasizes the idea that their love is physical as well as emotional.
The final stanza of the poem describes the aftermath of the consummation of love. The man and woman "lie there quietly" and "watch the stars." This suggests that they are content and at peace with each other. The use of the word "quietly" emphasizes the idea that they are comfortable with each other and do not need to speak to communicate.
Overall, Courtship by Mark Strand is a beautiful and evocative poem that captures the essence of love and the complexities of human relationships. Strand's use of vivid imagery, metaphors, and symbolism creates a powerful and emotional poem that resonates with readers of all ages. The poem is a timeless portrayal of the various stages of courtship, from the initial attraction to the final consummation of love.
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