Classic and Contemporary Poetry: Explained

In "Ghazal: The Shade of the Author of Indian Love Lyrics Speaks,"  dedicated to Agha Shahid Ali, John Hollander pays homage to the traditional Persian and Urdu poetic form of the ghazal, while infusing it with his own wit and modern sensibilities. The poem addresses themes of love, loss, identity, and post-colonial reflection through a series of evocative couplets, each ending with the refrain "tonight."

The opening couplet establishes a tone of self-deprecation and humility: "Less than the dust beneath (O hear her plea tonight!) / Thy chariot wheel, is one of low degree tonight." This imagery draws from traditional ghazal themes of unrequited love and the lover's abasement before the beloved. The speaker's comparison of themselves to dust highlights their feelings of insignificance and longing for recognition.

As the poem progresses, Hollander employs a series of vivid and melancholic metaphors to convey the speaker's diminished sense of self-worth: "Less than the weed that grows beside thy door. / Even less am I, smaller yet than wee tonight." The repetition of "less" underscores the speaker's perceived insignificance, while the diminutive "wee" adds a touch of poignancy.

The poem shifts to a critique of colonialism and its lingering effects: "Imprisoned in pre-post-colonial drivel / How shall embracing darkness set me free tonight?" This line reflects on the complexities of identity and freedom in a post-colonial context, questioning how one can find liberation amidst historical and cultural legacies.

Hollander introduces a touch of humor with lines like "Through the dark courtyard, shall I silently / Make my escape when you get up to pee tonight?" This playful approach juxtaposes the poem's heavier themes, adding depth to the speaker's introspection.

The image of a drifting dhow—an Arab sailing vessel—captures a sense of aimlessness and detachment: "Cut loose now from its mooring my sad dhow, / Shall I let it drift westward from your quay tonight?" The dhow symbolizes the speaker's journey, both physical and emotional, as they navigate the uncertainties of love and life.

Hollander's use of musical and natural imagery, such as "The fountain plashes and the bulbul trills / (I shall go mad if I don't get some zee tonight)," creates a sensory-rich atmosphere. The mention of the bulbul, a nightingale often referenced in Persian poetry, evokes traditional romantic longing, while the modern frustration of sleeplessness adds a relatable, contemporary twist.

The poem's concluding couplets reflect a resignation to fate and the inevitability of change: "A mightier ruler soon shall have me, his / All-conquering hand shall yet caress my knee tonight. / I welcome him. Farewell, Zahiruddin: / I beg no crumb, I make no final plea tonight." The speaker's farewell to Zahiruddin—possibly a reference to a historical figure or a symbolic name—signals a readiness to embrace the unknown future.

The final couplet brings the poem to a poignant close, blending elements of humor, resignation, and finality: "Poor hopeless Laurence! Now, Love's last reward, / Death comes for Mrs. Nicholson (that's me) tonight." The speaker's acceptance of death as the ultimate resolution of love's trials reflects the ghazal's traditional themes of love and loss, while the self-referential nod to Mrs. Nicholson adds a personal, introspective layer.

In "Ghazal: The Shade of the Author of Indian Love Lyrics Speaks," John Hollander masterfully navigates the form and themes of the ghazal, infusing it with contemporary sensibilities and a rich tapestry of emotions. Through his use of vivid imagery, poignant metaphors, and a touch of humor, Hollander creates a deeply reflective and evocative work that honors the ghazal's tradition while exploring the complexities of love, identity, and cultural legacy.

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