Themes and Meanings (Masterplots II: Poetry, Revised Edition)
A museum is literally the abode of the muses, goddesses of poetic, dramatic, and astronomical inspiration. The Swedish cart is a “put-away/museum piece.” When Moore went to check on it a decade after she first saw it, it was gone. Thus, in a sense, her poem operates like Keats’s as pure ekphrasis, for now the cart exists only as words. She remembers it was made in Sweden, “therea sweeter airthan we have here;/ a Hamlet’s castle atmosphere.” Hamlet may have known something was rotten in Denmark, but, on the whole, Scandinavia has a “sweeter air” than the poet’s Brooklyn. Yet the poet is very comfortable in her own place: “At all events there is in Brooklyn/ something that makes me feel at home.” Like the cart, the poet has been made by her atmosphere. Whatever is true of the cart is likely to be true of her as well.
Not a perfect place, hers is a “city of freckled/ integrity” against which the Swedish cart stands with “resined straightness” as if to take the city’s measure. Aware of the shortcomings of her native place, Moore prays, “Washington and Gustavus/ Adolphus, forgive our decay.” The rectitude of these two men is proverbial. The fabled George Washington, who could not tell a lie, and the worthy King Gustavus Adolphus, who ruled the land of the cart, are imposing standards of behavior.
A paradox of the carriage from Sweden is that now “no one may see this put-away/ museum piece.” Things in museums...
(The entire section is 840 words.)
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