Classic and Contemporary Poetry: Explained

Linda Pastan's poem "A Short History of Judaic Thought in the Twentieth Century" presents a profound and thought-provoking meditation on the human condition, mortality, and the ethical dilemmas that arise in moments of crisis. Through a brief but impactful dialogue, the poem addresses the tension between religious law and moral instinct, ultimately questioning the nature of life and death and our responsibilities to one another in a world that is both fragile and impermanent.

The poem begins with a reference to rabbinical teachings: "The rabbis wrote: although it is forbidden to touch a dying person, nevertheless, if the house catches fire he must be removed from the house." This statement encapsulates a specific legal and ethical guideline within Judaic thought, where the sanctity of life is balanced against the need to respect the dying person's final moments. The prohibition against touching a dying person likely stems from a reverence for the sacredness of death, an attempt to honor the person's transition without interference. However, the exception made for the case of a house fire introduces a pragmatic element, recognizing that in an emergency, the immediate threat to life takes precedence over ritual observance.

The speaker's immediate reaction is one of indignation: "Barbaric! / I say." This exclamation expresses a visceral rejection of the apparent harshness or inhumanity of the rule. The speaker is troubled by the idea that in ordinary circumstances, one might be forbidden from offering comfort or assistance to a dying person, seeing this as a cruel and unnecessary restriction. The use of the word "barbaric" suggests a deep emotional response, one that challenges the perceived rigidity or insensitivity of religious law when it conflicts with the speaker's moral intuition.

The speaker then raises a poignant and universal question: "and whom may I touch then, aren't we all dying?" This rhetorical question cuts to the heart of the matter, expanding the discussion from a specific religious injunction to a broader philosophical inquiry. By asserting that "we are all dying," the speaker emphasizes the shared human condition, where death is an inevitable part of life. The question challenges the distinction between the dying and the living, suggesting that if we are all in the process of dying, the prohibition against touching the dying becomes a prohibition against touching any of us. This line invites the reader to consider the implications of such a rule in a world where everyone is, in a sense, on the path toward death.

The poem's closing lines introduce a new voice, possibly that of the addressee, who responds to the speaker's concerns: "You smile / your old negotiator's smile and ask: / but aren't all our houses burning?" The "negotiator's smile" implies a calm, perhaps wise demeanor, someone who is accustomed to mediating between conflicting ideas or perspectives. The question posed—"but aren't all our houses burning?"—is both metaphorical and profound. It suggests that the world itself is in a constant state of crisis, that danger and impermanence are the norms rather than the exceptions. If every "house" is burning, then the urgency to act, to intervene, becomes universal. The question reframes the discussion, implying that the traditional rules may need to be reconsidered in light of the constant state of emergency in which we live.

In "A Short History of Judaic Thought in the Twentieth Century," Linda Pastan deftly explores the complexities of religious law, moral responsibility, and the human condition. The poem confronts the reader with difficult questions about how we navigate the boundaries between tradition and compassion, between the sacred and the practical, in a world where death and danger are ever-present. The interplay between the speaker's emotional response and the calm, reflective question posed at the end highlights the tension between the ideal and the real, between what is prescribed and what is necessary in the face of life's inevitable challenges.

Ultimately, the poem suggests that in a world where "all our houses are burning," our ethical choices must be informed not just by rules and rituals, but by a deep awareness of our shared vulnerability and the urgent need to care for one another in the face of life's fragility.

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