Classic and Contemporary Poetry: Explained

Karl Shapiro's "Randall Jarrell" is a candid and introspective tribute that blends admiration, apprehension, and humor. The poem offers a glimpse into Shapiro's personal and professional relationship with Jarrell, highlighting the complexities and nuances of their interactions. Through a conversational tone and vivid descriptions, Shapiro conveys his deep respect for Jarrell's work while acknowledging the intimidating presence Jarrell holds in his life.

The poem begins with a straightforward admission: "Randall, I like your poetry terribly, yet I'm afraid to say so." This opening line sets the stage for the poem's exploration of conflicting emotions. Shapiro's fear of expressing admiration suggests a vulnerability, indicating that Jarrell's opinion and reaction hold significant weight. The humor in the line "Not that my praise keeps you awake - though I'm afraid it does" adds a light-hearted touch, hinting at the playful yet serious nature of their relationship.

Shapiro recalls a past interaction where Jarrell reviewed his work harshly, and his response to this criticism: "I wrote you: 'I felt as if I had been run over but not hurt.' That made you laugh. I was happy." This anecdote reveals the dynamic between the two poets, where even negative feedback from Jarrell is valued and can elicit a positive response. Shapiro's happiness at making Jarrell laugh highlights the importance of their connection and the mutual respect underlying their interactions.

The poem continues with Shapiro's reflections on Jarrell's distinctive qualities: "When people ask about you I am inclined to say: He's an assassin (a word I never use)." This metaphor characterizes Jarrell as a sharp and unrelenting critic, someone whose insights can be both incisive and wounding. Shapiro's query, "Why are you always yourself?" captures the essence of Jarrell's authenticity and unwavering adherence to his principles, even when they provoke fear or discomfort in others.

Shapiro delves into Jarrell's literary influences and style, mentioning his "love of Rilke," "intimacy with German," and the remarkable quality of his prose and poetry. The comparison of Jarrell's prose sentences to "Bernini graves, staggeringly expensive, Italianate, warm" is particularly striking. This analogy emphasizes the ornate, crafted nature of Jarrell's writing, suggesting a blend of beauty, complexity, and emotional depth. The unfinished verses "left half-finished in mid-air" evoke a sense of incompletion and ongoing contemplation, paralleling the behavior of a woman Shapiro once knew who never finished a sentence, thereby underscoring Jarrell's constant intellectual engagement.

Despite his admiration, Shapiro acknowledges his fear of Jarrell: "I'm afraid of you. Who wouldn't be." This admission underscores the intimidating aspect of Jarrell's personality and critical prowess. Yet, this fear does not diminish Shapiro's eagerness to engage with Jarrell's work: "But I rush to read you, whatever you print. That's news." The urgency and enthusiasm in this statement reflect Shapiro's unwavering respect and fascination with Jarrell's writing, illustrating the powerful impact Jarrell has on his readers.

In "Randall Jarrell," Shapiro masterfully balances humor, admiration, and candid reflection to paint a vivid portrait of his esteemed colleague. The poem captures the essence of Jarrell's multifaceted personality—his brilliance, intensity, and the fear he instills, alongside the profound respect he commands. Through personal anecdotes and evocative descriptions, Shapiro offers an intimate and heartfelt tribute to Jarrell, celebrating his enduring influence and the complex dynamics of their literary friendship.

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