
The speaker challenges the distorted legends and repeated gossip surrounding Nimmo, insisting that those who knew him should remember especially his deep, velvet-lit eyes, which could brighten with emotion, laughter, anger, surprise, or Francesca. Over time, however, their light faded, leading others to imagine some hidden conflict. The speaker denies that Nimmo and Francesca ever fought and warns against probing memory with suspicion. A painter’s portrayal of Nimmo’s eyes is said to have revealed, or perhaps placed, the devil within them. After this, Francesca fled “from paradise,” apparently afraid of evil she perceived in Nimmo. Yet the speaker continues to trust him, particularly because he can smile, and admits a personal burden of guilt: he “played” and will have to pay. The speaker sees Nimmo as defeated and estranged but calm, carrying the memory of a woman who loved and changed. Francesca remains silent while their days pass without even the warmth of argument. Although the speaker fears women’s judgments when they believe they see clearly, he tells Francesca that he knows Nimmo as he appears to him. Nimmo is portrayed as bewildered and unfulfilled in the difficult task of being the man he was born to be. The speaker asks others to set aside their harsh recollections, maintaining that their worst memories amount to little beside his own knowledge and trust. He concedes that his account may paint Nimmo as a better man than the speaker himself, and admits that this judgment is true.
By Edwin Arlington Robinson · First published 1910 · Genre: Poetry, Dramatic Monologue, Psychological Poetry · 791 words
SINCE you remember Nimmo, and arrive
At such a false and florid and far drawn
Nimmo is listed on Textopian as a poem by Edwin Arlington Robinson, dated 1910 CE.
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poetry · American literature · early twentieth century · character study · psychological portrait · melancholy · isolation · disillusionment · small-town life · social observation · mortality · alienation