Classic and Contemporary Poetry: Explained

William Matthews' poem "Last Words" explores the ironic and sometimes humorous nature of famous last words attributed to notable figures. The poem delves into the human fascination with the final utterances of the dying, highlighting the absurdity and unpredictability of these moments. Matthews skillfully juxtaposes the solemnity of death with the often mundane or humorous nature of people's last statements, creating a poignant commentary on the human condition.

The poem opens with a reference to the misattribution of famous last words, correcting the common misconception that Oscar Wilde said, "Die, my dear doctor, that's the last thing I shall do." Instead, this was Lord Palmerston's line, while Wilde's real last words were, "Either this wallpaper goes or I do." This opening sets the tone for the poem, emphasizing the fallibility of memory and the peculiar nature of these final moments. Matthews uses these examples to suggest that the end of life is often marked by unexpected or trivial remarks, rather than profound declarations.

The structure of the poem is conversational, with the speaker recounting various instances of last words, each carrying a different tone and implication. The use of enjambment throughout the poem creates a flowing, almost casual narrative, mirroring the unpredictable nature of life and death. Matthews employs a mix of direct quotations and paraphrasing, creating a tapestry of voices that span different eras and personalities. This technique allows the poem to explore the universality of death while also highlighting the unique responses individuals have to their own mortality.

Matthews continues to explore the theme of famous last words with references to William Pitt, who allegedly said, "Oh my country! How I leave my country!" or, alternatively, "I think I could eat one of Bellamy's veal pies." This duality in Pitt's reported last words underscores the unreliable nature of such reports and the way history remembers—or misremembers—the dead. The poem suggests that these final moments are often less about the words themselves and more about the myth-making that follows.

The poem's tone shifts subtly as Matthews introduces the idea that "everyone dies alone," a sentiment often associated with the "tough-guy swagger." However, the speaker points out that those who made it into Bartlett's "Familiar Quotations" did not die alone; they had witnesses who recorded their last words, contributing to their lasting fame. This observation is both ironic and critical, as it implies that the presence of others—and the subsequent recording of last words—grants a kind of immortality, however flawed.

Matthews humorously recounts the last words of a French priest and Voltaire, both of whom responded to their final moments with wit. The priest's "May God forgive you" is met with the dying man's dismissal, "Of course He will; it's His métier," highlighting a cynical or perhaps resigned acceptance of the divine. Similarly, Voltaire's response to a lit candle, "Flames, already?" adds a layer of dark humor to the contemplation of death.

The poem concludes with a reflection on Henry James, who, upon facing death, remarked, "Here it is, at last, the distinguished thing," only to live longer and reconsider the weight of his words. This anecdote emphasizes the unpredictability of death and the difficulty in crafting the perfect final words. Matthews suggests that preparation for such moments, much like studying the masters, can be useful, but ultimately, one must let nature take its course, as per the advice of "laconic nineteenth-century mothers" to their daughters on their wedding nights: "Relax. You'll think of something."

In "Last Words," Matthews offers a meditation on the human need to find meaning in the final moments of life. The poem's blend of humor and seriousness, along with its reflective tone, provides a nuanced exploration of how we confront mortality. Matthews' exploration of famous last words serves as a reminder that, despite our best efforts, death often defies our expectations, leaving us with nothing more than a fleeting, sometimes inconsequential phrase.

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