Classic and Contemporary Poetry: Explained

In Robert Pinsky's poem "Essay on Psychiatrists: 11. Their Philistinism Considered," the speaker contemplates the idea of 'philistinism,' especially as it relates to psychiatrists. Philistinism here seems to imply a lack of genuine emotional or artistic depth, as compared to an adherence to the socially acceptable or conventional. The poem unfurls in free verse, a form that allows for an intricate discussion of social perceptions and professional duties, serving as a space where the societal and the individual converge.

The poem's structure begins by contrasting the world of art, represented by "Greek Tragedy," with the real-life tragedy involving the shooting of a psychiatrist. It then moves to a fictional representation of a psychiatrist in a newspaper comic strip. By juxtaposing these layers of reality, art, and fiction, the poem draws attention to the often superficial or performative nature of societal roles. The psychiatrists appreciate Greek Tragedy but might not be deeply engaged with the tragedy of real life, like a shooting. The newspaper account confirms this impression of the psychiatrist as a "decent, conventional man," engaged in socially beneficial organizations and writing "numerous articles." This surface-level engagement with life's complexities is further highlighted by the comic strip narrative of Rex Morgan, M.D.

The poem raises questions about the 'seriousness' and depth of the figures it depicts. These psychiatrists, while appearing to be well-rounded on the surface, are compared to Rex Morgan, a fictional character whose actions are scripted and whose emotional experiences are limited to the borders of a comic strip. As we see Rex Morgan take his date to a concert and then a meal, his actions and words are peppered with exclamation marks, a form of punctuation that denotes excitement but here seems to express a kind of hollowness. The narrative of Rex Morgan and his date serves as a veneer that covers the real-life tragedy of a psychiatrist dying from gunshot wounds. The juxtaposition of these two narratives, one fictional and one real but both contained in the newspaper, underlines the disturbing comfort we take in superficial engagements, all while actual tragedy unfolds in parallel.

The last lines depict the "longjawed man" pacing "furiously among / The lamps, magazines, tables, and tubular chairs," capturing another layer of reality-real emotional turmoil, possibly experienced by those who have lost someone, caught in the indifferent setting of a hospital lobby. This image encapsulates the 'philistinism' that the poem critiques: a kind of cultural and emotional superficiality that cloaks real pain, sorrow, and complexity.

Robert Pinsky's poem serves as a critique of professional and societal norms that prioritize surface-level engagement over genuine emotional and intellectual involvement. The form of the poem enables this intricate weave of commentary and critique, as the free verse and thematic juxtapositions work in tandem to shine a spotlight on the often troubling disjunctions between appearance and reality, between professional obligation and human feeling.

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