In Lawrence Ferlinghetti’s “In Goya’s Greatest Scenes We Seem to See…,” the speaker has observed paintings by Francisco Goya and compares the “suffering humanity” portrayed in them to the suffering of Americans on American freeways. The Goya paintings are likely those of the painter’s later years, a series titled, Los Desastres de la Guerra (The Disasters of War).

The comparison is hyperbolic, because the annoyances sustained by Americans on their highways cannot logically compare with suffering of the victims in Goya’s pictoral study. The victims in Goya’s painting are truly suffering slaughter and death at the hands of an enemy, and although people on freeways die from traffic accidents, the number of those accidents is relatively small and do not pile up bodies the way the war paintings do. The speaker wishes to make the exaggerated claim in order to emphasize the highway problem, as he sees it.

The poem is divided into two sections. The first section focuses on the Goya paintings, and the second focuses on American freeways.

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