Marriage is a fascinating intersection of cultural stereotypes and rituals, as explored through Corso's evocative portrayal. The poem's title and initial questions immediately signal its focus on the complexities surrounding this institution. Corso's approach, which contrasts societal stereotypes with personal experiences, suggests that cultural images offer deeper insights into marriage than abstract notions of love, encapsulated in the line, “O but what about love! I forget love.”

Delving into the rituals and clichés that define marriage, Corso vividly paints scenes familiar to many. The experience of meeting the in-laws is reduced to a transactional gain and loss—“we’re losing a daughter/ but we’re gaining a son.” The wedding ceremony itself is depicted with a humorous yet critical lens, where the poet imagines the priest's judgmental gaze, “he looking at me as if I masturbated,” embedding the moment with both levity and pressure. The honeymoon, too, is not spared from scrutiny, with “all those corny men slapping me on the back/ She’s all yours, boy! Ha-ha-ha!” echoing societal expectations and male camaraderie.

While one might be inclined to dismiss these rituals and cultural clichés as mere formalities, Corso asserts their significance in shaping the reality of marriage. The poem argues that these stereotypes influence the choices individuals make, revealing much about societal norms and the cultural framework within which people operate. In "Marriage," clichés are not trivial but rather potent reflections of cultural attitudes that frame the personal and collective experience of this enduring institution.

The portrayal of women in literature, particularly in works shaped by a male-centric perspective, often relegates the role of the wife to the periphery of the narrative. This trend is evident in Beat literature, a genre deeply rooted in the broader tradition of American literature where the male protagonist frequently shuns the confines of domesticity for the allure of unbounded adventure. This recurring theme can be traced from the pages of Mark Twain’s The Adventures of Huckleberry Finn and Herman Melville’s Moby Dick to Jack Kerouac’s seminal On the Road. These narratives depict the male hero’s flight from marital obligations into the liberating embrace of the wilderness.

The poem "Marriage," while not a quest epic like its predecessors, adheres to this familiar theme by portraying home and marriage as stifling constraints. The poet, Corso, encapsulates this sentiment with the dismissive term “pleasant prison dream” to describe his ultimate vision of marriage. This phrase underscores the rejection of domestic life, reinforcing a pattern where freedom is found beyond the domestic sphere. It is notable how the Beat movement, despite its veneration of the outsider and its celebration of diverse identities, often fails to incorporate a feminist perspective. This oversight contributes to a sense of datedness in many works from this literary era, as they neglect to engage with the evolving discourse on gender roles and equality.

In his poem "Marriage," Corso offers a sharp yet humorous critique of societal norms, particularly the institution of marriage. This work reflects a modern anxiety about the inevitable compromise between individuality and the expectations of adulthood. Corso, who experienced the constraints of society firsthand during his time in prison and psychiatric wards, presents marriage as a symbol of oppressive conventionality. Despite its playful tone, the poem reveals a profound concern with the loneliness that accompanies a refusal to conform.

The tension between embracing personal freedom and accepting societal roles is encapsulated in Corso's dramatic exclamation, "All the universe married but me!" Through this hyperbole, he underscores the pervasive nature of marriage as an expected milestone in life. Yet, beneath the jocular...