Carmen and Cello as Figures in Hart Crane’s “Carmen De Boheme” Poem

Abstract

Poetry and music have long been existing as parallel and interconnected fields throughout the history of art. Poetry and music bear considerable resemblance where the words, become synonymous with sounds in crafting expression. In other words, it can be said that music is essentially the embodiment of verbal expression in sound. With this similarity in mind, it is clear that Hart Crane’s overlooked poem “Carmen de Boheme,” which is to be analyzed in this study, is notably influenced by Bizet’s opera Carmen. Therefore, in this poem where the cello figure is mentioned, the cello partition of Bizet’s Carmen opera has been examined as required by the poem. This analysis delves into how these two art forms, poetry, and music, can harmonize thematically and figuratively. To explore this relationship, the poem is examined through the lens of figure-ground theory, allowing for the scrutiny of various figures that contribute to the establishment of a sensual and feminine atmosphere within it. This exploration sheds light on the intricate relationship between poetry and music, demonstrating their capacity to intertwine and enrich each other.