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This paper aims to investigate the post-modern qualities of John Ashbery’s Self-Portrait in a Convex Mirror in comparison with Penelope’s weaving in the Odyssey. Just as she works on a shroud by day and unweaves it by night, reflecting her unstable mind, Ashbery successively establishes and destroys ideas or images arising from his contemplation of Parmigianino’s self-portrait. Applying Roman Jakobson’s theory that ‘the poetic function projects the principle of equivalence from the axis of selection into the axis of combination,’ this paper identifies various warps of selection in the poem in allusion to Penelope’s web, including those of theme, language, point of view, tone, and so on. They in turn project equivalence respectively on the weft of combination, with resulting recurrence and interweaving of themes, language, rhetoric, etc. in the poem. To complete the analogy, the ideational shuttle skimming back and forth across the web/poem intertwines the warps in contrast and conflict, producing a more neutralized, yet fresh and polyphonous whole.