{"id":27138,"date":"2012-02-23T14:30:25","date_gmt":"2012-02-23T19:30:25","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=27138"},"modified":"2012-07-11T13:20:24","modified_gmt":"2012-07-11T17:20:24","slug":"%e2%80%98dream-song-14%e2%80%99","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2012\/02\/23\/%e2%80%98dream-song-14%e2%80%99\/","title":{"rendered":"John Berryman\u2019s \u201cDream Song #14\u201d"},"content":{"rendered":"
\"\"<\/a>

John Berryman.<\/p><\/div>\n

The poet is often taken to be a subspecies of the memoirist, stirred to write about her own experiences\u2014the more intense or \u201cauthentic,\u201d the better. Thanks to the Romantics we believe that inwardness is truth, truth inwardness. This aesthetic can produce great lyric poetry, but it also tends to blanket many contemporary poems with a kind of fungus of the first person.\u00a0Also of solemnity.\u00a0A strong mid-century alkali to such mildew is John Berryman\u2019s long sequence, The Dream Songs<\/em><\/a>. Its main character is Henry, a concoction of Berryman\u2019s own past, of his reading, and of American history. Henry gives utterance to a thousand shades of thought and feeling, of hesitations and inklings\u2014the most intimate stuff of the inner voice\u2014but he does this via verbal theatrics. He is constantly disputing himself, juggling his first, second, and third persons, and the result reads almost like an improvised vaudeville act. Henry\u2019s entanglement with language becomes the central drama of the sequence.<\/p>\n

In \u201cDream Song #14,\u201d the drama, or antidrama, is Henry\u2019s boredom, a thing that is especially tricky to convey. I never tire of the comic-grave, drooping yet metrically perfectionist, repetitious thespian roundelays of this poem. \u201cEver to confess you\u2019re bored \/ means you have no \/\/ Inner Resources\u201d is how Henry quotes his scolding mother. It\u2019s a maxim both wearily conceded and richly facetious. If the brunt of some of the best lyric poetry is that we must strip the costumes off our feelings and confess them truly, Henry is strewing his alternative propaganda that\u2014honestly? dishonestly?\u2014he has none just now. No gainful feelings. And the costumes are of greater interest.<\/p>\n

This spirit of rebellion, or rapscallionism, that sparks through all 385 of The Dream Songs<\/em> (and it pains me to leave out the other 384) may feel so vital because Berryman was, among other things, a serious scholar of Shakespeare, well equipped to gauge the tensile strength of a dramatic monologue. In an essay written around the time he published the last of The Dream Songs<\/em>, Berryman isolates one of the things that makes an otherwise minor play, The Two Gentlemen of Verona<\/em>, important: \u201cThe sudden endowing of a clown\u2014against our expectation\u2014with a voice of his own \u2026 A second clown comes onstage alone at II.iii.I and begins to talk to himself, or rather he begins to confide in the audience \u2026 Here we attend, for the first time in English comedy, to a definite and irresistible personality<\/em>, absorbed in its delicious subject to the exclusion of all else; confused, and engaging.\u201d The same might be said of Henry, even when he seems most wearily disengaged. <\/p>\n

\n

Life, friends, is boring. We must not say so.
After all, the sky flashes, the great sea yearns,
we ourselves flash and yearn,
and moreover my mother told me as a boy
(repeatingly) \u2018Ever to confess you\u2019re bored
means you have no<\/p>\n

Inner Resources.\u2019 I conclude now I have no
inner resources, because I am heavy bored.
Peoples bore me,
literature bores me, especially great literature,
Henry bores me, with his plights & gripes
as bad as achilles,<\/p>\n

who loves people and valiant art, which bores me.
And the tranquil hills, & gin, look like a drag
and somehow a dog
has taken itself & its tail considerably away
into mountains or sea or sky, leaving
behind: me, wag.<\/p>\n<\/blockquote>\n

Jana Prikryl is on the editorial staff of<\/em> The New York Review of Books.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

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