Original Poem：
I am surprised to see
that the ocean is still going on.
Now I am going back
and I have ripped my hand
from your hand as I said I would
and I have made it this far
as I said I would
and I am on the top deck now
holding my wallet, my cigarettes
and my car keys
at 2 o’clock on a Tuesday
in August of 1960.
Dearest,
although everything has happened,
nothing has happened.
The sea is very old.
The sea is the face of Mary,
without miracles or rage
or unusual hope,
grown rough and wrinkled
with incurable age.
Still,
I have eyes.
These are my eyes:
the orange letters that spell
ORIENT on the life preserver
that hangs by my knees;
the cement lifeboat that wears
its dirty canvas coat;
the faded sign that sits on its shelf
saying KEEP OFF.
Oh, all right, I say,
I’ll save myself.
Over my right shoulder
I see four nuns
who sit like a bridge club,
their faces poked out
from under their habits,
as good as good babies who
have sunk into their carriages.
Without discrimination
the wind pulls the skirts
of their arms.
Almost undressed,
I see what remains:
that holy wrist,
that ankle,
that chain.
Oh God,
although I am very sad,
could you please
let these four nuns
loosen from their leather boots
and their wooden chairs
to rise out
over this greasy deck,
out over this iron rail,
nodding their pink heads to one side,
flying four abreast
in the old-fashioned side stroke;
each mouth open and round,
breathing together
as fish do,
singing without sound.
Dearest,
see how my dark girls sally forth,
over the passing lighthouse of Plum Gut,
its shell as rusty
as a camp dish,
as fragile as a pagoda
on a stone;
out over the little lighthouse
that warns me of drowning winds
that rub over its blind bottom
and its blue cover;
winds that will take the toes
and the ears of the rider
or the lover.
There go my dark girls,
their dresses puff
in the leeward air.
Oh, they are lighter than flying dogs
or the breath of dolphins;
each mouth opens gratefully,
wider than a milk cup.
My dark girls sing for this.
They are going up.
See them rise
on black wings, drinking
the sky, without smiles
or hands
or shoes.
They call back to us
from the gauzy edge of paradise,
good news, good news.
Analysis and Interpretation of the Poem
This poignant poem captures a deeply reflective moment aboard a ship, where the speaker contemplates the vastness and timelessness of the ocean. The poem opens with a sense of surprise that the ocean "is still going on," emphasizing the endless continuity of nature despite human experiences and events. The speaker recounts a personal act of separation—ripping their hand away from another’s—and asserts their determination by stating they have "made it this far," highlighting themes of independence and self-reliance.
The poem’s setting is precise, grounding the moment in time: "2 o’clock on a Tuesday in August of 1960." This detail adds a historical and personal dimension, making the scene vivid and tangible. The speaker holds everyday objects—wallet, cigarettes, car keys—symbols of normal life and identity amidst the vast, ancient sea.
The sea is personified as "the face of Mary," a powerful image linking nature to spirituality and age. It is described as "without miracles or rage or unusual hope," suggesting a calm yet weathered presence, "grown rough and wrinkled with incurable age." This portrays the sea as eternal and indifferent, contrasting with human emotions and events.
The speaker’s gaze shifts to the immediate surroundings: the life preserver marked "ORIENT," the "cement lifeboat," and a "faded sign" warning "KEEP OFF." These details ground the poem in reality and symbolize safety, danger, and human attempts to control or survive nature.
A striking image follows: four nuns sitting like a "bridge club," their faces peaceful and childlike. The speaker imagines them breaking free from their constraints—boots and chairs—to "rise out over this greasy deck," swimming gracefully like fish, "singing without sound." This surreal vision blends spirituality, innocence, and freedom, contrasting with the speaker’s sadness and the harshness of the sea.
The poem closes with a beautiful, uplifting vision of "my dark girls" rising "on black wings," lighter than "flying dogs or the breath of dolphins," singing silently as they ascend toward "the gauzy edge of paradise." This image conveys hope, transcendence, and a connection between earthly struggles and a higher realm.
Background and Author Introduction
This poem reflects themes common in mid-20th-century poetry, where personal experience, spirituality, and nature intertwine. The exact author is not specified here, but the style suggests influence from poets who blend vivid imagery with introspective narrative, such as Elizabeth Bishop or Theodore Roethke.
The poem’s historical setting in 1960 hints at a period of change and uncertainty, possibly reflecting post-war sentiments or the beginning of social transformations. The imagery of the sea as ancient yet indifferent evokes timeless human concerns about existence, faith, and resilience.
Personal Reflection
Reading this poem evokes a profound sense of solitude and contemplation. The speaker’s journey—both physical and emotional—reminds us of the human struggle to find meaning amid the vastness of life. The contrast between the mundane (wallet, cigarettes) and the mystical (nuns swimming silently) invites readers to consider the coexistence of the ordinary and the extraordinary in our lives.
The poem’s imagery encourages mindfulness of nature’s permanence and our fleeting presence within it. It also inspires empathy and hope, as seen in the uplifting vision of the "dark girls" rising toward paradise, symbolizing liberation and renewal.
Educational Insights and Learning Points
From this poem, children and students can learn several valuable lessons:
- Imagery and Symbolism: The poem uses vivid images (the sea, nuns, lifeboats) to convey deeper meanings about life, spirituality, and aging.
- Personification: The sea is given human qualities, helping readers connect emotionally with nature.
- Themes of Independence and Resilience: The speaker’s act of separating from another’s hand and deciding to "save myself" teaches self-reliance.
- Spiritual and Mystical Elements: The nuns and the rising girls introduce ideas of faith, freedom, and transcendence.
- Historical Context: The specific date encourages exploration of the 1960s era, connecting literature with history.
In practical life and learning settings, this poem can be used to:
- Enhance creative writing skills by encouraging students to use sensory details and symbolism.
- Foster critical thinking by interpreting metaphors and themes.
- Discuss emotional intelligence through the speaker’s feelings of sadness, hope, and determination.
- Explore cultural and historical awareness by situating the poem in its time.
Reading Comprehension Exercises
-
What is the speaker surprised to see at the beginning of the poem?
A) The sky is clear
B) The ocean is still going on
C) The ship is sinking
D) The nuns are singing -
What does the speaker hold on the top deck?
A) A book and a pen
B) A wallet, cigarettes, and car keys
C) A life preserver and a rope
D) A camera and binoculars -
How is the sea described in the poem?
A) Young and full of miracles
B) Angry and stormy
C) Very old and wrinkled
D) Calm and silent -
What unusual image does the speaker imagine involving the four nuns?
A) They are playing cards on the deck
B) They rise and swim like fish, singing without sound
C) They are dancing in the rain
D) They are painting the ship’s railing -
What do the ‘dark girls’ symbolize in the poem?
A) Fear and sadness
B) Freedom and transcendence
C) Danger and warning
D) Loneliness and despair
Answer Key
- B) The ocean is still going on
- B) A wallet, cigarettes, and car keys
- C) Very old and wrinkled
- B) They rise and swim like fish, singing without sound
- B) Freedom and transcendence
