Classic and Contemporary Poetry: Explained

"On the Question of Pornography" by Wis?awa Szymborska delves into the provocative theme of the eroticism of thought, pitting intellectual intimacy against conventional ideas of sensuality. The poem skillfully exploits the language of scandal and debauchery to illustrate the titillating power of intellectual exchange. Through its ironic tone and thematic duality, the poem beckons readers to reexamine their perceptions of what is considered erotic, risqué, or taboo.

Szymborska opens with a bold declaration: "No debauchery compares with thinking." This immediately establishes the poem's subversive angle by attributing the qualities often associated with sexual depravity to the act of thinking. She characterizes intellectualism as a sort of contagion, "a weed whose seed is carried by the wind," thereby insinuating that thought is not just a private act but a contagious one, threatening to uproot the simpler, less demanding blooms of intellectual apathy or societal norms.

The poem then ventures into an exploration of what intellectual indulgence might look like: pairs, triangles, and circles of people engrossed in thought, engaging in "dissolute analyses, excessive syntheses." In these "licentious" exchanges, people are "touching upon prickly subjects," and delighting in "idea spawning." This segment satirizes the societal preoccupation with physical attributes by portraying the seductive allure of intellectual stimulation as even more intense than that of fleshly temptation.

In comparing intellectual to erotic engagements, Szymborska highlights the inattention society pays to the intimacy of intellectual pursuits. The "partners' sex and age" are irrelevant in these pairings; what matters is the synergistic collision of thoughts. The poem wittily mocks the conventional portrayal of sexual roles and dynamics by suggesting that within the realm of thought, anyone can "corrupt" or "procure" anyone, irrespective of their relational roles. Here, the boundaries of father-daughter or brother-sister relationships blur as the poem delves into the liberating force of thought.

The critique then extends to conventional pornography, labeled "a good-natured kind of pornography." According to Szymborska, these "pink buttocks in illustrated magazines" are tamer than the explicitness of a powerful idea, of sentences "marked with a fingernail or a pencil." This flips the societal narrative, suggesting that it's not the sexual imagery that should be considered outrageous, but the intense, unrestricted communion of minds.

Perhaps the most striking element of the poem is its depiction of how unremarkable the external trappings of this intellectual "debauchery" appear to be: people simply "making tea," sitting on chairs, or staring out windows. Szymborska seems to be pointing out the ironic juxtaposition of how innocuous intellectualism appears on the surface while harboring the potential for profound intimacy, excitement, and transformation. In doing so, the poet challenges the reader to rethink not only societal norms but also their own internalized notions of what constitutes the provocative and the intimate

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