Classic and Contemporary Poetry: Explained

Robert Hass's "Consciousness" is a contemplative exploration of the nature of awareness, memory, and human experience. The poem intricately weaves personal anecdotes, philosophical musings, and vivid imagery to delve into how consciousness shapes and is shaped by our interactions with the world and our inner selves.

The poem begins with a simple yet profound image: "First image is blue sky, nothing in it, and not understood as sky, a field of blue." This initial depiction of pure, unadulterated perception sets the stage for a journey through various layers of consciousness. The blue sky symbolizes a blank slate, a starting point for consciousness before it is cluttered with thoughts and interpretations.

Hass quickly introduces an auditory image: "The second image is auditory: the moan of a foghorn." The foghorn's sound adds depth to the initial visual image, suggesting that consciousness is not limited to sight but encompasses all sensory experiences.

The poem then shifts to a conversation about the nature of consciousness, mentioning Dean's idea that "consciousness was like a knock-knock joke." This metaphor suggests that consciousness involves an anticipation of response, a call-and-answer dynamic that is inherently self-referential. The speaker's mind wanders to various places, illustrating the multi-dimensional nature of thought and memory.

One vivid image is of "a line of ridge somewhere in a dry Western landscape just after sundown," where coyotes appear, embodying a form of "mammal consciousness" rooted in instinct and physical presence. This depiction contrasts with the abstract, self-reflective nature of human consciousness.

The speaker reflects on the cultural aspect of consciousness, mentioning Whitman's rejection of a reductionist view of life. This leads to a personal memory of the speaker's father, who embodies a pragmatic, materialistic worldview: "Bobby, it's a dog-eat-dog world out there." The father's statement and the subsequent scene of dogs mating emphasize a raw, survivalist perspective on life.

A poignant moment occurs when the speaker recalls his father's death: "When I came into the room where he was dying of cancer, my father gave me a look that was pure plea." The complex mix of emotions—anger, love, dismay, and relief—highlights the intricate web of feelings that consciousness can generate in moments of profound significance.

The poem also explores the theme of memory and its influence on consciousness. The speaker recalls his grandmother's story about him as a baby, lying in a crib, content to look at the sky. This memory, though possibly constructed, becomes a foundational image of consciousness for the speaker.

Hass introduces the idea of human consciousness as a product of both individual experiences and collective cultural artifacts, such as Paris. The city, with its rich history and vibrant life, symbolizes the depth and complexity of human awareness, transcending simple explanations.

The poem concludes with reflections on the difficulty of understanding consciousness itself: "It's hard to see what you're seeing with, to see what being is as an activity through the instrument of whatever-it-is we have being in." This meta-reflection acknowledges the challenges inherent in trying to comprehend the very tool through which we perceive and understand our existence.

Hass weaves in references to poets Czeslaw Milosz and George Oppen, adding layers to the exploration of consciousness. Milosz's notion that consciousness "means nothing" and Oppen's idea that it "loves itself" suggest different perspectives on the nature of awareness—one nihilistic, the other more self-affirming.

In "Consciousness," Robert Hass masterfully intertwines personal memory, sensory experience, philosophical inquiry, and literary allusion to create a rich tapestry that probes the depths of human awareness. The poem's intricate structure and evocative imagery invite readers to reflect on their own experiences of consciousness and the myriad ways it shapes their understanding of the world and themselves.

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