Classic and Contemporary Poetry: Explained

Randall Jarrell's "The Old and the New Masters" delves into the evolving perspectives on suffering, adoration, and art itself. By examining the thematic and stylistic shifts that have occurred in the representation of these subjects by 'the old masters' and 'the new masters,' Jarrell provides a reflection on the ever-changing landscapes of human experience and understanding.

The poem commences with a vivid depiction of an old master's painting, "St. Sebastian Mourned by St. Irene," in which the emotional intensity and somber devotion are palpable. This archaic representation portrays suffering as a profound shared experience where "no one else eats / Or walks or opens the window." All the elements of the painting converge to spotlight St. Sebastian's agony, which becomes "the one thing in the world" for all the characters. A similar focus is emphasized in another painting described, van der Goes' "Nativity," in which everything in the artwork is magnetically attracted to the baby Jesus, reflecting a worldview that considers this divine moment as the fulcrum of existence.

As the poem progresses, we observe a transformation in the artistic paradigm. The importance initially given to moments of suffering and adoration is undermined: "the men come to see / What is important, see that it is not important." This marks a transition to the era of the 'new masters,' wherein the classical subjects lose their traditional gravity. Veronese is taken to task by the Inquisition for introducing dogs at Christ's feet, symbolizing an era where artistic liberty is both the subject of scrutiny and a symbol of change.

The concluding section takes us to a point where even "Christ disappears, the dogs disappear," as art evolves into abstract representations, shedding its previous religious and humanistic focus. The universe now becomes the subject, with Earth relegated to "a bright spot somewhere in the corner." This could be read as a commentary on how modernity and scientific understanding have not just altered our worldviews but have also significantly impacted the subjects and themes deemed worthy of artistic representation.

The poem, thus, stands as a layered critique of the changing focus in art, from the old masters, who imbued each brushstroke with theological and existential gravitas, to the new masters, who move towards abstraction and existential ambiguity. In this transition, we see a mirror to the shifts in human consciousness itself-from a collective understanding deeply rooted in shared experiences of suffering and adoration to a more fragmented, perhaps even isolated, comprehension of the universe and our place within it.

Jarrell's "The Old and the New Masters" serves as an insightful narrative on the transition and the complexities inherent in understanding suffering, adoration, and the role of art in interpreting these age-old aspects of human life. It is a compelling take on how each era's 'masters' shape, and are shaped by, their temporal contexts, underlining the fluid relationship between art and the epochs it both represents and transcends.

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