Modern Poetry Reading Response 3

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Haley Smith

Dr. Potter

Modern Poetry

Reading Response

3/4/11

Thoughts on ³The Yachts´

William Carlos Williams¶ ³The Yachts´ is marked by an encompassing element of

surprise and unconventionality. From the metrical organization, to the capitalization (or lack

thereof), as well as the thematic transition, metaphor type, and overall poetic style, Williams

keeps the reader alert to his work, and ultimately to a cause.

³The Yachts´ is written in free verse ± a method typical for Williams who aspired to

break out of poetic molds. Under the impression that literature was taking a wrong turn during

his time, he humbly, yet confidently undertook the task of liberating it and did so brilliantly,

advancing a trend towards ³open´ and ³organic´ forms (Carlos 283). What contains his verse in

this poem is the tercet stanza organization. While he presents a form that is uninhibited in order

to promote a sense of chaos near the end, a subtle rhythm underlies the poem. Although his poem

could certainly not have been written in a style as rigid as the sonnet or sestet, a slight rhythm is

necessary to drive movement. Williams is careful to avoid sloppy verse, his moderately

organized style producing clear, powerful imagery, yet his verse remains loose enough that the

reader is allowed to freely feel emotion.

Where the reader would typically expect capitalization, Williams does not grant that

luxury. The first words of most of his stanzas are not capitalized. He removes the capitalization

of the first word after a period, as well, in line 32 ± ³they cry out, failing, failing! their cries



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rising´ (32). To begin each stanza, or even begin the poem with a capital letter would seem too

authoritative, elevating Williams to the same level as the Yacht riders condemned in this poem.

No, he wants to level with society, to introduce his platform with attempted humility so that they

may collectively commiserate with those who are the subjects of injustice. The lower case

utilized in, ³their cries rising,´ could also represent the neglect paid to those drowning in the

ocean by the thoughtless fortunate above in their untouched yachts. Such a suggestion further

betrays Williams¶ cause.

While the reader progresses through the first section of ³The Yachts´ a generally pleasant

image is created. The scene painted is one where the yachts are sailing casually about in a

protected area ± ³In a well guarded arena of open water surrounded by lesser and greater craft

which, sycophant, lumbering and flittering follow them, they appear, youthful, rare«´ (13-15).

Although the scene is pleasant at that moment, a division is noted between the lesser and greater

craft. Williams intends the greater crafts or the yachts to represent the more well-off in society

and the lesser crafts to represent the poor and downcast. The yachts sail about, ³as the light of a

happy eye, live with the grace of all that in the mind is fleckless, free, and naturally to be

desired´ (16-18). These upper class citizens have not a care in the world and do not need to

practice responsibility for themselves or for the lives of those beneath them. While the image of

a calm, carefree sail is projected for the yachts, it is set in the greater scheme of the nearby,

ungoverned, and µmoody¶ ocean (19). This ocean, ³tortures the biggest hulls, the best man knows

to pit against its beatings, and sinks them pitilessly´(4-5). Therefore, the protected region the

yachts sail in is truly a farce ± it does not represent the realities of life and the challenges of the

rest of society. The more fortunate isolate themselves in a life of ignorant, self-absorbed bliss.



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Although there is some discomfort at the idea of a nearby, violent ocean, the reader

hardly imagines that a change in theme and imagery as drastic as the change that Williams

presents will unfold. Suddenly, ³the wind comes again,´ possibly referring to a resurgence of

greed in the upper class citizens or a time of economic downfall that is affecting the poor.

Williams¶ metaphors shift from an airy, satisfying style to a blunt, discomfort-breeding style,

most likely to shock the reader into noting the depth of injustice. ³Bodies thrown recklessly in

the way are cut aside,/It is a sea of faces about them in agony, in despair´ (26-27). As the sea is

becoming an µentanglement of watery bodies¶, the rich, in their yachts untouched by the terror of

the sea, simply pass over. They do not reach down to grab the hand of one the struggling poor,

they do not even note the dreadful struggle. Too engrossed in their own lives, ³the skillful yachts

pass over´ (33). The symbolism is obvious.

Perhaps particularly enraged by the injustice he noted against the less fortunate in his

society, Williams does employ the poetic tool of symbolism which is one of the traditional

conventions he seeks to avoid in the majority of his poetry. Speaking to John Thirwell, he

explains, ³I wrote the whole damn thing with a change«I was thinking of terza rima, but gave

up rime ± the very vague imitation of Dante. I was quickly carried away by my own feelings´

(William). Williams usual style is direct and somewhat imagist. He wished to simply present

objects and situations as they were. ³The poet does not«permit himself to go beyond the

thought to be discovered in the context of that thing which he is dealing«The poet thinks with

his poem´ (Carlos 285). His use of rich, emotion-laden symbolism in ³The Yachts´ is the last

and perhaps most important surprise of the poem, although he did not intend to be ³carried

away.´ For readers who are familiar with Williams, this technique is unanticipated and

therefore, commands attention. The power of his message lies in unintended emotion.



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Works Cited

"William Carlos Williams on "The Yachts"." UPenn, n.d. Web. 3 Mar 2011.

<http://writing.upenn.edu/~afilreis/88v/yachts-comment.html>.

"William Carlos Williams." The Norton Anthology of Modern and Contemporary Poetry. Ed.

Jahan Ramazani, Richard Ellman, Robert O'Clair. New York: W. W. Norton &

Company, 2003. Print.

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Modern Poetry Reading Response 3