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By Martz, William J.; Berryman, John

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MARTZ as with the early Berryman, it is not an egocentric emphasis but rather a question of "how I feel" (120) in the sense of how a sensitive individual feels in response to his own psyche and to the world he inhabits. Henry is John Berryman saying, Here I am as a man, as the particular implies the universal. In this he succeeds. Henry is interesting. He has sheer interestingness, which is of course not to say that every Dream Song succeeds by this standard. That the poetic technique of "The Dream Songs" tends to shift from 77 Dream Songs to His Toy, His Dream, His Rest is, it seems to me, a weakness, and this is true despite the flexibility gained by the device of fluid characterization.

Hover, utter, still a sourcing whom my lost candle like the firefly loves. (574-8) And so with Homage to Mistress Bradstreet the early Berryman becomes the later Berryman. The move is made, at approximately the age of forty, from talent to talent best applied. With Homage Berryman achieves poetic maturity and becomes a poet of the first rank. The process harkens back to, of all places, his short stories. Homage, after all, is a modern narrative, and Berryman has the narrative bent. In his short stories, moreover, he uses poetic language, and in Homage he is language's daring master.

Her spirit in these last stanzas is essentially one of reconciliation. 3). We have the sense of reflecting on a whole life and all that it has meant and could mean. When the poet says farewell, we, I think, say it too. 1). The experience of the poem has, finally, been the experience of love: still Love has no body and presides the sun, and elfs from silence melody. I run. Hover, utter, still a sourcing whom my lost candle like the firefly loves. (574-8) And so with Homage to Mistress Bradstreet the early Berryman becomes the later Berryman.

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