Love has been an issue that poets have tackled since the Renaissance when Petrarch first created the notion of romance during the 14th Century. “A Renewal” is a short, abrupt poem addressing the love-laden characteristic of vacillation: the first stanza the voice falls out of love and the second stanza the voice realizes that it is still in love.
First Quatrain: Try, Try Again
The voice of the poem, possibly Merrill since he was known for “his ability to transform moments of autobiography into deeply meaningful poetry” (Gussow 10), admits that it is using “every subterfuge / to shake” (1-2) its partner into remaining enamored with it. Just as quickly as the coital coaxing “of passion” (2) occurs it ends with the next line when the voice resolutely determines that there must be “a clean break” (3), and that the voice is “willing to bear the guilt” (4).
Who is Fooled?
Is the voice lying to itself? The voice begins by using deception to try to win the lover over. After the initial negativity fizzles out the voice admits “guilt”. Where else would the guilt fall since it seems this voice is not acknowledging anything beyond the obvious? The lies are the only thing holding the attachment together. It seems that if the “relationship” were held up to any objective scrutiny it would be outed for all of its inadequacies.
Second Quatrain: Up to the Hilt
In the second and final stanza the addressee of the voice nods with “assent” (5), in total agreement that the voice is to blame for the lack of romance and fire in the relationship. The poem then turns to an image of decay and inept seasonal manipulation depicting “Autumn” (5) as “a clear vase of dry leaves vibrating on and on” (6). Autumn, although it is often considered a time of dying and loss of life in nature, is also only a brief moment of flux in preparation for the next season. Seasonal changes are a constant, as are all changes in life. Just as quickly as the seasons change so does the mindset and emotional awareness of the voice in the poem as it decides to admit that “love buries itself in me, up to the hilt” (8). The tight, compact form of the poem imitates the quickness of the poetic voice’s flip flop vis-à-vis love.
Nod to Petrarch
Since romantic love may be attached to a foundation in Petrarchan sonnets it seems fitting that the final word of the poem is both in reference to love being an absolute within the persona of the voice, and a play on words with regards to the handle of a “sword” (common to the 14th Century). Interestingly, with regards to love it is noteworthy that it is dissolved to its basest symbol: the phallus.
Gussow, Mel. "James Merrill Is Dead at 68; Elegant Poet of Love and Loss." New York Times [New York City] 7 Feb. 1995, New York ed., Obituary B sec.: 10-10.
 |
