Classic and Contemporary Poetry: Explained

Michael Ondaatje’s "A Gentleman Compares His Virtue to a Piece of Jade" is a richly textured meditation on the intersection of history, myth, and cultural memory. Through its fragmented, catalog-like structure, the poem weaves together diverse and seemingly disparate elements—rituals, objects, professions, and personal philosophies—to explore themes of tradition, identity, and the intimate relationship between art and life. Each image contributes to a collective portrait of a world where the past and present, myth and reality, are inseparably intertwined.

The opening lines, "The enemy was always identified in art by a lion. / And in our Book of Victories wherever you saw a parasol on the battlefield you could identify the king within its shadow," establish a focus on symbols and their power in shaping perception. The lion, a universal emblem of strength and aggression, and the parasol, a marker of royalty, underscore the role of imagery in delineating power and identity. The mention of the "Book of Victories" connects this visual language to historical narratives, where myth and art transform actual events into enduring symbols.

The poem transitions into a reflection on cultural evolution: "We began with myths and later included actual events." This line acknowledges the human tendency to blend fiction with history, suggesting that both serve as tools for understanding the world. The introduction of "new professions" like "Cormorant Girls who screamed on prawn farms to scare birds" and "Stilt-walkers" highlights the inventive and adaptive nature of human societies. These professions, both practical and performative, illustrate the ways in which labor and art intersect, contributing to the cultural fabric.

The line "There was always the ?untaught hold? by which the master defeated the pupil who challenged him" introduces a recurring theme of mastery and tradition. The "untaught hold" symbolizes knowledge that is not formalized or codified, but instinctual and passed down through practice. This emphasis on tacit understanding reflects the value placed on experience and intuition within the traditions described throughout the poem.

Objects and rituals feature prominently, imbuing the poem with a tactile and historical richness. "Bamboo tubes cut in 17th-century Japan we used as poem holders" and "bells tied onto falcons" evoke the integration of art and utility. These items, while functional, carry symbolic and aesthetic significance, embodying the interplay of the mundane and the transcendent. Similarly, "A silted water garden in Mihintale" and "Bangles from Polonnaruwa" root the poem in specific geographical and cultural contexts, celebrating the material culture of a world defined by its intricate, localized traditions.

The mention of "wild cursive scripts" and "the two-dimensional tradition" underscores the importance of writing and artistic representation. The "solitaries" who "spent all their years writing one good book" reflect a reverence for the written word and the pursuit of artistic perfection. This devotion to craft is mirrored in Federico Tesio’s contribution, Breeding the Race Horse, a work that transforms the practical into the poetic, elevating even the act of breeding into an art form.

The poem also delves into personal and sensory experiences, as seen in the lines: "Walking the Alhambra blindfolded / to be conscious of the sound of water—your hand could feel it coursing down banisters." This image emphasizes the value of heightened perception and mindfulness, inviting the reader to consider the relationship between the physical and the ephemeral. Similarly, the alignment of public holidays with the full moon and the "hour of washing the gods" at 3 a.m. in temples reflect a deep integration of ritual and daily life, where celestial and earthly rhythms are in harmony.

The closing lines shift to moments of mortality and resilience. The Buddha’s left foot "shifted at the moment of death," and a great writer "called out for the fictional doctor in his novels." These instances highlight the inseparability of art and life, where fiction and belief shape and echo real experiences. The final image of the "tightrope-walker from Kurunegala," stranded in darkness after the generator is shut down, becomes a powerful metaphor for perseverance and vulnerability. The walker, suspended above the audience, embodies both the fragility and strength of human endeavor, a testament to the resilience of art and tradition in the face of disruption.

The fragmented structure of the poem reflects its thematic focus on multiplicity and interconnectedness. Each vignette functions as a distinct yet complementary piece of a larger mosaic, inviting readers to draw their own connections and interpretations. The language, both precise and evocative, creates a sense of intimacy and immediacy, grounding abstract ideas in tangible details.

"A Gentleman Compares His Virtue to a Piece of Jade" is a meditation on the enduring significance of cultural traditions, artistic expression, and personal resilience. Through its vivid imagery and layered narrative, Michael Ondaatje crafts a world where history, myth, and the intimate details of daily life converge. The poem celebrates the richness of human experience, affirming the transformative power of art, ritual, and the stories we tell to make sense of our place in the world.

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