(Poem #827) Strawberries There were never strawberries like the ones we had that sultry afternoon sitting on the step of the open french window facing each other your knees held in mine the blue plates in our laps the strawberries glistening in the hot sunlight we dipped them in sugar looking at each other not hurrying the feast for one to come the empty plates laid on the stone together with the two forks crossed and I bent towards you sweet in that air in my arms abandoned like a child from your eager mouth the taste of strawberries in my memory lean back again let me love you let the sun beat on our forgetfulness one hour of all the heat intense and summer lightning on the Kilpatrick hills let the storm wash the plates |
Sumer is icumen in, which means (in England, at least) Wimbledon, Ascot and the Ashes. Oh, and strawberries in cream - hence today's choice of poem. Truth to tell, though, the strawberries of the title are rather incidental to the poem, which is mostly about love, and memory, and experience. No, wait, I take that back: the strawberries may be incidental, but that's entirely the point - the poem is about incidents, about the million and one little things that make life worth living. The events described may be just one story out of many, but they're no less real and no less important for that. thomas. [Minstrel Links] The magic of the ordinary is a theme which runs through much of Edwin Morgan's work; see, for instance, his justly celebrated "The Unspoken", Minstrels Poem #147. See also Seamus Heaney's "Song", Minstrels Poem #61. Morgan's poetry also has a strong undercurrent of humour; see Minstrels Poem #215, "The Loch Ness Monster's Song", and Minstrels Poem #304, "The Subway Piranhas". I find his playfulness a welcome relief in an age where poets often take themselves all too seriously. Finally, while we're on the subject of berries, see William Carlos Williams' equally evocative slice-of-life, "This Is Just To Say", Minstrels Poem #274.
14 comments: ( or Leave a comment )
This is a love poem in disguise. The subject in the poem
isn't the girl he 'loves' or even the moment they shared,
it's centered around his idea of loving her. "Let me love
you" is almost a demand not a mutual feeling b/w the two.
He lusts selfishly over a woman that he describes not at
all. This makes her interchangeable to become any woman
that he wishes, be it lover, wife or just throw away fling
and thats not really very romantic or personal simply
selfish.
Nikki
But love is love right, I mean "lean back let me love you" who doesn't want
to hear the ultimate lovemaking statement
I think the lover's privacy is respected by his/her anonymity. The
poet could be speaking to you, you know, this moment could be yours
as well. Let me love you isn't a command, quite, it's that urgent
thrilling I-must-have-you of love, then there's a nice sequence of
transformation through the three 'Lets'. Let the sun beat on our
forgetfulness is more of a prayer or wish, then Let the storm wash
the plates is allowing, accepting, drifting into sleep.
This is certainly a poem about love, but also about death and love's
valiance in the certain face of death. Not hurrying this feast
refers not only to not hurrying the eating of strawberries before the
feast of love to come, but also not hurrying life away before death.
The feast to come is us, you know, we will be death's feast, and the
feast of worms. See Shakespeare in Mercutio's speech. The empty
plates that lie on the stone together with their two forks crossed
are like two effigy tombs lying side by side on the stone together
with their arms crossed.
He's done something wonderful here: using the ordinary, he's touched
the infinite.
Nancy
The poem is about a time of homosexual lovemaking.
If we take the strawberry to be symbolic of another bulbous end that holds
many seeds - a symbolism shared by some painters - then the theme becomes
apparent.
In the first stanza the blue plates symbolise both parties being male, the
plates only slot together one way like spooning homosexual lovers. By the
end of the first stanza the first round of lovemaking is over - the plates
are empty, laying on the stone. "The two forks crossed" symbolise male
genitals crossed in the embrace afterward.
Stanza 2 and the lovers are ready for more with the taste of "strawberries"
fresh in thier memory.
and so on.
As a reply to Nikki's comment,
Morgan doesn't describe the woman he loves, not through ignorance, but because he was describing a man, and feared persecution for his homosexuality as his was written in a much less tolerant time.
The effect of 'merely' describing the memory of this specific time they shared, and not his lover's personal attributes (although it is hinted at that they are similar and share many qualities "two forks crossed" etc) a universal feeling is given, so this moment could be anyone's simple but wonderful time in their life that they shared with their lover, so it could have been written about anyone, male, female, heterosexual, or not.
I feel Morgan portrays his feelings towards his lover very well, and is, perhaps selfish ("lean back and let me love you", "your knees held in mine") but by admitting these feelings, the poem is further made universal, as many have been selfish and desperate in love.
in reply to Gary xxx
That is only an assumption we will never know wether or not this was a time of homosexual lovemaking as he never says and the examples you gave may well mean other things such as the crossed forks being symbols of their intimacy and the fact that they come together as one.
In my opinion the fact that this is a universal love poem which knows no boundaries when it comes to gender or who it applies to is a stroke of genius and shows that love is not just between a man and a woman or a man and man but between two humans who share a memorable evening together that ends in neither rushed nor planned intimacy.
I've been writing and this'll be my contribution because your blog has been inspiring me to redact this...
The last word this one spoke
was my name. The last word
that one spoke
was my name.
My two friends
had never met. But when they said
that last word
they spoke to each other.
I am proud to have given them a language
of one word. A narrow space
in which, without knowing it,
they met each other at last. 23jj
Thanks for taking the time to discuss this, but I am firmly convinced of this and love to learn more about the subject. If possible, acquire knowledge, would you update your blog with more information? It is very helpful to me
i'm setting this piece to music. All comments have given me a different suggestion of what the text is about which I hope to capture in the harmony and rhythm of the music (to be sung by a baritone)so thank you all!
I love this poem and the fact that Edwin Morgan was able to express his love for a man in this manner. 'lean back again, let me love you' for me has very sexual connotations and to me refers to a certain act of love making. It might not be, but it is how I understood it and therefore congratulate Morgan for being so bold at the time. One of my favourite poem. ever.
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One thing that strikes out to me is that I don't find it to be very sexual. It's more about the sensuality and strong emotional connection between the poet and his lover: "...looking at each other, not hurrying the feast," Looking into someone's eyes is a very intimate thing to do. The poem is almost post-coital, in that it could be reflecting on the warm glowy feeling you get after enjoying sex with someone you love... "lean back again, let me love you..." Lean back into my arms, let me hold you? Ravish you (again)?
There is more to "homosexual love-making" than just sex, and I feel it's important to recognise this part of intimacy in the poem.
nice
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