Classic and Contemporary Poetry: Explained

In "Pacific Ideas—A Letter to Walt Whitman," Louis Simpson engages in a reflective and poignant dialogue with the legacy of Walt Whitman, juxtaposing the grand, sweeping vision of Whitman's America with the more complex and, at times, disillusioning reality of contemporary life. Through vivid imagery and a tone that oscillates between resignation and yearning, Simpson explores themes of civilization, ambition, and the search for meaning in a world that often feels distant from the ideals Whitman once championed.

The poem opens with a striking image: "When the schooners were drifting / Over the hills—schooners like white skulls—." This imagery evokes a sense of decay and the passage of time, where the once vital and bustling schooners, symbols of exploration and adventure, have become mere remnants, ghostly figures drifting over the landscape. The metaphor of schooners as "white skulls" suggests not just the death of these vessels, but perhaps the death of the ideals or the pioneering spirit they represented.

Simpson then contrasts this haunting image with a domestic scene: "The sun was the clock in that parlor / And the piano was played by the wind." The sun, acting as a natural clock, and the wind playing the piano, evoke a world where nature itself is integrated into human life, yet there is a sense of emptiness or absence. The parlor, typically a space of human activity and warmth, is animated only by natural forces, suggesting a disconnect between human presence and the passage of time.

The line "But a man must sit down, / And things, after all, are necessary" introduces a theme of compromise and practicality. This acknowledgment of the need to "sit down"—to settle, to conform to the demands of life—reflects the tension between the ideal and the necessary, a tension that Simpson grapples with throughout the poem. The mention of "immensely overpaid accounts" that "we must pay again" brings this tension into sharper focus, pointing to the recurring burdens and responsibilities that come with civilization and modern life. Simpson seems to lament the loss of something more profound, a loss that Whitman might have seen coming but that still stings in its inevitability.

Simpson touches on the difficulty of "civilizing" and changing "the usual order," acknowledging the resistance to change that is inherent in both individuals and society. The reference to "the young, who are always the same, endlessly / Rehearse the fate of Achilles" suggests that despite the passage of time, certain human tendencies—particularly the youthful embrace of heroic ideals and tragic fates—remain unchanged. The myth of Achilles, with its themes of glory, mortality, and the inevitability of fate, serves as a metaphor for the cyclical nature of human aspirations and failures.

The poem also captures the pervasive ambition to "live at the center," in "The world of the upper floors," a phrase that implies not just physical elevation but also social and economic ascension. This ambition is depicted as a universal desire, yet it is also tinged with a sense of futility, as if reaching "the center" or the "upper floors" does not guarantee fulfillment.

Simpson's tone shifts to one of melancholy as he observes that "the sad professors of English / Are wishing that they were dead, as usual." This line captures the despair and disillusionment of those who have dedicated their lives to the study of literature and culture, only to find themselves grappling with the meaninglessness of their pursuits. It reflects a broader existential crisis, where the pursuit of knowledge and understanding does not necessarily lead to happiness or purpose.

However, amid this backdrop of disillusionment, Simpson introduces a moment of transcendence: "But here is the sea and the mist, / Gray Lethe of forgetfulness, / And the moon, gliding from the mist, / Love, with her garland of dreams." The sea and the mist, associated with the river Lethe from Greek mythology—a river that brings forgetfulness—suggest a longing for escape from the burdens of life and memory. The moon, a traditional symbol of mystery, femininity, and dreams, emerges from the mist as a figure of love, offering a reprieve from the harshness of reality.

In the poem's closing lines, Simpson reveals his inner conflict: "And I have quarreled with my books / For the moon is not in their fable, / And say to darkness, Let your dragon come, / O anything, to hold her in my arms!" Here, Simpson expresses frustration with the limitations of intellectual pursuits ("quarreled with my books"), as they fail to capture the elusive, transcendent beauty symbolized by the moon. The invocation of "darkness" and the dragon suggests a willingness to confront even the most terrifying aspects of existence, if only to embrace something real and meaningful.

"Pacific Ideas—A Letter to Walt Whitman" by Louis Simpson is a profound exploration of the tensions between idealism and reality, between the spiritual and the mundane. Through his dialogue with Whitman, Simpson grapples with the disillusionments of modern life while also yearning for a connection to something greater, something that transcends the limitations of civilization and intellectualism. The poem ultimately reflects the enduring human struggle to find meaning and beauty in a world that often seems to fall short of its own promises.

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