Classic and Contemporary Poetry: Explained

In "The Mortal One," Sharon Olds delves into the complex emotions surrounding the death of her father and the process of coming to terms with his mortality. The poem juxtaposes the physical reality of decay with the rituals of remembrance and renewal, creating a poignant meditation on life, death, and the passage of time.

The poem begins with a vivid description of the deceased, likened not to Christ but to "one of his saints," highlighting the vulnerability and humility of the human body in death. The imagery of "knees and raw ribs" and "done in gilt" evokes the fragile, gilded saints often depicted in religious art, suggesting a reverence for the deceased while acknowledging his frailty. The comparison to saints "who died of nettles, bile, the one who died roasted over a slow fire" draws attention to the suffering and harsh realities of life and death.

The narrative transitions to a scene three months after the father's death, where the speaker takes a pot of tulip bulbs from the closet. The tulip bulbs, with their "young green pencils" shoots and the "comfortable smell of rot," symbolize both life and decay. The smell of rot, emanating from a bulb that "did not make it," serves as a metaphor for the lingering presence of death and the natural cycle of life and decay. The description of the bulb marked with "ridges like an elephant's notched foot" adds a tactile, earthy quality, grounding the abstract concept of mortality in tangible imagery.

As the speaker moves through the house, the poem continues to blend mundane activities with reflections on death. In the kitchen, the act of throwing peppercorns into a saucepan is metaphorically described as an attempt to "grow a black tree from the soup," an image that blends creation with destruction. The disposal of a "rotten chicken part" further emphasizes the theme of decay and the practical realities of dealing with perishable matter.

The poem then shifts to a contemplation of the decision to cremate the father, expressing a sense of relief that his body was burned "before one single bloom of mold could grow up out of him." This passage reflects a desire to preserve dignity and avoid the slow, visible decay of the body. The comparison to burning "the long blue scarf of the dead, and all their clothing" suggests a ritualistic cleansing, a final act of purification and letting go.

Olds captures the acceleration of time following the death, noting, "How fast time goes now that I'm happy." This line suggests that the speaker has reached a place of acceptance, where she can integrate the memory of her father's death into her daily life "almost without grief." The imagery of a loom parting the vertical threads "like the Red Sea" and the "shuttle through with the warp-thread attached to the feet" symbolizes the weaving of the father's memory into the fabric of the speaker's life. The father's representation as a "small gold figure" in paintings, previously unrecognized, signifies the newfound clarity and understanding of his mortality and place in the world.

The poem concludes with a reflection on how often the speaker saw her father in "paintings and did not know him," underscoring the distance between life and the posthumous realization of someone's full humanity. The phrase "the tiny naked dead one in the corner, the mortal one" encapsulates the poem's exploration of mortality—acknowledging the universality of death and the humility inherent in being human.

"The Mortal One" is a contemplative and richly layered poem that explores the intimate process of mourning and acceptance. Sharon Olds weaves together the physical and emotional aspects of death, creating a tapestry of imagery that captures the impermanence of life and the enduring presence of memory. Through her exploration of decay, renewal, and the rituals of remembrance, Olds offers a nuanced reflection on the nature of mortality and the human condition.

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