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Classic and Contemporary Poetry: Explained | |||
Howard Nemerov's poem "Learning the Trees" presents a thoughtful meditation on the intersection of language, knowledge, and the natural world. Through a reflective exploration of the process of learning about trees, Nemerov delves into themes of perception, categorization, and the inherent limitations of human understanding. The poem begins with a statement that sets the stage for the journey of learning: "Before you can learn the trees, you have to learn / The language of the trees." This assertion underscores the importance of language as a tool for understanding and categorizing the world. The initial learning occurs "indoors, / Out of a book," which Nemerov cleverly notes is "one of the transformations of a tree." This observation ties the act of learning back to the natural subject matter, highlighting the cyclical relationship between trees and knowledge. Nemerov revels in the richness of the terminology used to describe trees: "samara, capsule, drupe, legume and pome," as well as the varied textures of bark: "papery, plated, warty or smooth." These terms, though seemingly esoteric, are described as a "delight to learn," suggesting that there is intrinsic pleasure in acquiring specialized knowledge. The words that describe the shapes of leaves—"Orbicular, / cordate, cleft and reniform"—and their venation—"palmate and parallel"—along with leaf tips—"acute, truncate, auriculate"—are not just labels but keys to unlocking the complexity of the natural world. Equipped with this new vocabulary, the learner is encouraged to venture "forth to the forests and the shady streets" to apply their theoretical knowledge to the real world. However, the transition from book learning to practical observation proves challenging: "the chaos of experience / Answers to catalogue and category. / Confusedly." This confusion arises because nature often defies neat categorization. The variability within a single species can be greater than between different species, leading to "dreadful doubt" and the realization that the neat definitions in books are sometimes inadequate. The poem then introduces the concept of "an average leaf," a construct that simplifies the diversity of nature for the sake of understanding. Nemerov provides a specific example with the catalpa tree, which in the book "Sprays out its leaves in whorls of three / Around the stem," but in reality, "rarely does, or somewhat, or almost." This discrepancy between the idealized version in the book and the observed reality highlights the limitations of language and classification systems. Despite these challenges, learning progresses "little by little" (or "pedetemtim," as Lucretius says). Through this process, learners not only become familiar with the trees but also gain insight into "what language does / And how it does it." Nemerov points out that language "cuts across the world / Not always at the joints," suggesting that linguistic categories often impose arbitrary divisions on the natural world. Language competes with experience while also cooperating with it, maintaining its own "obstinate / Intransigence." The poem culminates in a reflection on the "secret will / Pretending obedience to Nature," which ultimately "divides up the world to conquer it." This metaphor suggests that the act of categorizing and naming is an exercise of power and control, one that imposes human order on the natural world. Nemerov also muses on the irony of knowledge: even if one succeeds in learning the names of many trees, the "comprehensive silence" of the trees themselves remains unchanged. This silence symbolizes the inherent mystery and complexity of nature, which resists complete understanding and remains beyond the reach of human language and classification. "Learning the Trees" thus captures the tension between the human desire to categorize and understand the world and the elusive, multifaceted reality of nature. Through its rich imagery and reflective tone, the poem invites readers to appreciate both the power and the limitations of language and knowledge, acknowledging the profound silence that underlies the vibrant, living world of trees.
| Discover our Poem Explanations and Poet Analyses!Other Poems of Interest...LAUGHTER (YOUTH SPEAKS TO HIS OWN OLD AGE) by CONRAD AIKEN SONNETS ATTEMPTED IN THE MANNER OF CONTEMPORARY WRITERS: 2 by SAMUEL TAYLOR COLERIDGE HAMATREYA by RALPH WALDO EMERSON ULTIMA THULE: DEDICATION by HENRY WADSWORTH LONGFELLOW AN ELECTIVE COURSE by THOMAS BAILEY ALDRICH |
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