Introduction
Literary devices allow authors to convey the themes of their works in specific ways. Often, a poet or a writer gives their audience a key with which some important questions can be answered or even raised. Literary creators employ a variety of concepts that may help one analyze literary devices better. Although it may seem difficult for some readers, others enjoy looking for deeper contexts in literary pieces. Frye’s concept of the pastoral myth can be utilized to analyze allusion in Ray Hsu’s “Midas” to interpret how the poet’s nostalgic feelings are reflected in the poem.
Pastoral Myth in “Midas”
The concept of the pastoral myth lies at the heart of social mythology and serves as a tool for shedding light on social ideals. According to Frye, the pastoral myth is most often associated with childhood or some early social experience related to childhood (238). This concept involves “the nostalgia for a world of peace and protection,” which cannot be found in adult life (Frye 239).
In Hsu’s “Midas,” this nostalgia can be felt throughout the poem, with the most evident example being “disobedient memory” (line 23). The poet enumerates some sweet memories, which most likely emerge from childhood: those of “the harvest, the milled/fresh flour” (Hsu lines 25-26). When reading these lines, one unconsciously travels back in time and feels the careless summer in the village when one was visiting grandparents or even living. The concept of the pastoral myth allows for a deeper analysis of allusion in the poem.
Allusion in the Poem
The very title of Hsu’s poem, “Midas,” represents the allusion that passes through the poem and encourages the reader to immerse themselves in the mythical world of childhood and mystery. Everyone remembers that Midas was a king who obtained the power to turn everything he touched into gold. At first, he rejoiced in his power, but when he realized that his food, clothes, and the people he wanted to embrace became rigid, he was somewhat disappointed and angry with himself.
Hsu’s poem has more than one allusion to Midas, starting with the title and then moving to hints throughout the poem. For instance, in the first lines, “the loss of taste” and “that of touch” are mentioned (Hsu lines 1-2). The author then elaborates on the allusion to Midas by reminiscing about the pleasant things that the poem’s narrator cherishes, such as “the crust / on bread” and “the skin of grapes” (Hsu lines 2-3). The allusion to Midas’ touch is seen in these lines.
Hsu develops the pastoral myth and the allusion further in the poem. The author talks about “an exchange / of the senses” about diplomacy, implying how Midas received his power in exchange for the polite treatment of an old satyr (Hsu lines 5-6). The culmination of allusion is the mention of “disobedient memory,” which represents the pastoral myth in its tender recollection of the “fine / pleasures that last only / as long as the body” (Hsu lines 26-28). Here, the author connects the allusion and the pastoral myth to evoke sympathy and sentimentality.
Conclusion
Hsu has employed allusion in the poem “Midas” to create an atmosphere of nostalgia about the pastoral myth. The poet utilizes the literary device under analysis in numerous instances, making the whole piece sound unified and complete. The atmosphere created by Hsu in “Midas” takes the readers back to their childhood, making them think about their pleasant memories after reading about those of the narrator.
Work Cited
Frye, Northrop. “Conclusion to a Literary History of Canada.” Literary History of Canada, edited by Carl F. Klinck, University of Toronto Press, 1965, pp. 213-251.