Understanding Our World

     In our busy lives it is easy to misinterpret the meaning of an individual’s actions or words. With the advancement of technology, conversing with another person consists of small text blocks sent back and forth at blazing speeds. In many occurrences, a person may not realize the undertone and true intention of the message until they soak in the words a second time. With a similar fashion, each piece of poetry must be read more than just once to fully understand its intricacies. Three works specifically identify with this ideal process: “Folsam Prison Blues” by Johnny Cash, “In Time of Plague” by Thom Gunn, and “Hard Rock Returns to Prison from the Hospital of the Criminal Insane” by Etheridge Knight. Many conclusions can be made concerning the meaning of these. A proper way of extracting the significance is by understanding the theme and tone which these poems use to influence their interpretation.

     One can see that Thom Gunn personalizes the doubt felt by the narrator and injects it into the tone of his work, “In Time of Plague.” In the first few lines, “I am confused, confused to be attracted...” (Gunn, 3-4), repetition allows the reader to see a dilemma in thought and mental state that plagues the narrator. This heavy style permits a movement in idea from that of a physical nature to a mental portrayal of what the narrator explains is “a state of ardent life in which we could all stretch ourselves and lose our differences” (Gunn, 20-22). The dark overtone of the poem brings the reader into the serious matter in which the main role finds himself. The use of tone to explain the solemn event helps understand the mindset of all the characters without overtly explaining the vaguely described instance, leaving imagination up to the reader.

     Much like the event in Gunn’s poem, the character nicknamed “Hard Rock” in Etheridge Knight’s poem holds as much importance to the characters as it does to the tone of the story. The title, “Hard Rock Returns to Prison from the Hospital for the Criminal Insane,” immediately sets the mood. This man is not being set free, he is returning to a community equally detestable to the “Hospital for the Criminal Insane” (Knight). The use of vulgar language, “sh*t” and “ni**er” (Knight, 1 & 7), commits the reader to consider these men as scum and of an offensive nature. Upon implanting this concept, the author immediately shocks the reader, by design, into a dilemma with the revelation that this tough prisoner has been turned into a sponge, metaphorically speaking. Contrary to that of Gunn’s poem, the dilemma is placed upon the interpreter of the poem. Should disgust still be felt or compassion for an inmate who has been transformed and rendered defenseless in an environment previously under his reign. Only the person holding the poem can decide what conclusions to make.

     “Folsom Prison Blues” provides a clear tone of depression, similar to the readers inference of Hard Rock and his inmates, through its lyrics. Hidden beneath these words is a sense of joy, a confusing interpretation but a valid one when understood fully through multiple readings. In Johnny Cash’s song, he writes of a prisoner who consistently thinks about the train that passes by “rollin’ on down to San Antone” (Cash). The description of the people inside and the experiences occurring inside bring about the impression of sadness. What does not appear to the listener is a realization that the speculation of these events brings joy to the inmate. The outlet provided by the train lets him know that people outside Folsam Prison are still happy despite the actions of those inside the walls. The understanding that this life could never be held by the narrator is seen when Johnny Cash sings, “Well I know I had it coming, I know I can’t be free But those people keep a movin’ ” (Cash). This line tells the listener that underneath the depression rendered by the singer, the detainee keeps a tone of happiness.

     Theme holds an equal importance to the effect of a story as shown through Etheridge Knight’s poem, where it portrays the envy, doubt, and despair of inmates in consideration of a fellow prisoner, Hard Rock. A view of envy is seen where the narrator says, “He had been our Destroyer, the does of things we dreamed of doing but could not bring ourselves to do” (Etheridge, 34-35). It is difficult to understand the thoughts of a prisoner but knowing the envy these inmates hold creates a theme that is easily seen. Doubt and despair are also portrayed when the prisoners assume Hard Rock has just “wised up” but could not retain that view after spending more time with him (Etheridge, 31). Life inside a prison is difficult even for the strongest of men and women. With no one to look up to and no goal to reach, a clear conclusion of the people’s lives can not be drawn. Lines 36 and 37 provide a horrifying insight when Etheridge writes, “The fears of years, like a biting whip, Had cut grooves too deeply across our backs” (Knight). A harsh reality sets in that these men were dependent on Hard Rock despite his brutal nature.

     We hear and read similar tones in Johnny Cash’s “Folsom Prison Blues” where the envy for others is pronounced in a clear fashion. Cash even goes so far as to explicitly say “that’s what tortures me...” (Cash) explaining the want of freedom that others possess. In the theme of the song, it is not shown that the unnamed prisoner speaking regrets his actions, instead the opposite. While sadness is exhibited, it is only in admiration of those more fortunate than he. The train, expertly described in vivid details, is an outlet for the “blues” sung about in the song (Cash). With no contact to the outside world, imagination and creativity allows prisoners to help settle their mind and keep a pseudo-sanity. As with the inmates in Knight’s prison, this prisoner relies on the train to keep his sanity. He is as dependent as a business owner who relies on work and customers to live comfortably.

     An interesting theme is vivid in Thom Gunn’s “In Time of Plague” where we see a goal of Utopia in the eyes of the narrator. In a similar fashion to the “Folsom Prison Blues,” imagination takes precedent over reality. The hopes of a world “in which we could all stretch ourselves and lose our differences” (Gunn, 21-22) gives the idea that a want and need for euphoria creates many questions in the main character’s mind. Many questions arise, “Is this dream possible?”, “Can I achieve it through artificial means?”, “Are these men actually interested in the goal of Utopia or looking for pleasure in a narcissistic manner?” The character is restless in these thoughts and anxiety runs consistent with the theme. One can only hope that these men have good intent. If this is not true, a desire to break barriers is warranted, to tell the curious man to avoid such a predicament. This poem is an excellent example of pulling the reader into the environment pictured where one feels like a helpless bystander analyzing a potentially dangerous circumstance.

     It is would be unfair to command a certain feeling and only correct to allow discussion of varying opinions. Only in this manner can a reader be conscious of the complexity poetry holds and accept the dissidence of various analyses. What others perceive can only add to the knowledge we hold of the world around us. In examining the theme and tone of poetry and music, the ideas conceived definitively transfer to the reality of our lives. Accepting what is compared can help to understand differences in assessment. Realizing the complex nature is a copy of our own life proves very important and unifies the belief that studying theme and tone in poetry directly affects a person’s awareness of the world around them.

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Works Cited:

The Norton Introduction to Literature. 10th ed. Ed. Alison Booth and Kelly J. Mays. New York: Norton, 2010. Print.
Knight, Etheridge. “Hard Rock Returns to Prison from the Hospital for the Criminal Insane.” Booth and Mays. 654-655. Print.
Gunn, Thom. “In Time of Plague.” Booth and Mays. 653-654. Print.

Cash, Johnny. Folsom Prison Blues. Johnny Cash. Rec. 30 July 1950. Sam Phillips, 1955. CD.