Classic and Contemporary Poetry: Explained

Robert Creeley's poem "The Plan" reflects on themes of existential contemplation, the appeal of escape, and the repetitive nature of life’s struggles. Through sparse language and a minimalist structure, Creeley offers a glimpse into the mind of a speaker grappling with the monotony and frustrations of daily existence. The poem oscillates between moments of longing for peace and sharp reflections on human behavior, ultimately capturing a tone of resignation mixed with a yearning for transcendence. Creeley’s fragmented lines and open-ended phrasing invite readers to consider the complexities of human experience—particularly the tension between the desire to escape and the struggle to find meaning within the “muddle” of life.

The opening line, simply "Daytime," sets the scene in the ordinary, waking world. This word stands alone, implying that it is during the daytime—when the speaker is fully conscious—that questions about purpose and escape arise. "Wonder at / the quieter possibilities / of slumber," introduces the allure of sleep as an alternative to the difficulties of the waking hours. Sleep, often associated with rest and respite, becomes an object of fascination and longing here, suggesting that the speaker views it as a reprieve from the demands and uncertainties of conscious life. The phrase "quieter possibilities / of slumber" implies that there is a depth or richness in sleep that the speaker cannot access during the noise of daytime existence. This introduction of sleep as a desirable state hints at an existential weariness, a longing for simplicity and quiet.

"Deep sleep, / in peace / some place the mind / will yet escape" further emphasizes the appeal of unconsciousness as a form of liberation. "Deep sleep" suggests a level of rest that goes beyond the ordinary, perhaps even bordering on oblivion—a state where thoughts, worries, and the burdens of identity can temporarily cease. The phrase "some place the mind / will yet escape" implies a space beyond the reach of daily concerns, a mental sanctuary where the speaker imagines freedom from the persistent demands of consciousness. This line captures a sense of hope or yearning, as if the speaker believes there is a realm, perhaps in sleep, where they can finally be unburdened.

However, this hope is immediately complicated by the next line, "Or else, truth, / the mind / this time at last / trapped." Here, Creeley introduces the possibility that the mind might not find escape or peace but might instead be "trapped." This abrupt shift introduces an element of existential dread—the fear that there is no escape, even in slumber. The phrase "this time at last / trapped" suggests a kind of finality, as if the speaker is contemplating the inevitability of being confined within their own mind, unable to escape its confines or the cyclical nature of existence. This line captures a fear that is both universal and deeply personal: the notion that the mind, rather than finding release, may end up imprisoned in its own thoughts, anxieties, and unresolved conflicts.

The stark phrase "no voice, no / way left" reinforces this sense of entrapment. It implies a state of isolation where communication and movement are impossible, as if the speaker has reached a point where neither expression nor escape is feasible. The imagery of "the / hand at last / can tighten" conjures a sense of restraint, as though the very instruments of agency and control—the hands—have become forces of containment. This tightening grip could symbolize the intensifying hold of self-doubt or despair, or perhaps the constriction of freedom and possibility. Creeley seems to be suggesting that the mind, left unchecked, can become its own captor, tightening around itself until escape becomes impossible.

The question "Why live / in the middle / of this / damned muddle?" reveals the speaker’s frustration with life’s inherent messiness and confusion. "Muddle" conveys a sense of disorder and aimlessness, suggesting that the speaker finds little clarity or purpose in the routines and expectations of daily life. This question is blunt, almost resigned, as if the speaker is confronting the futility they feel and wondering why they should continue enduring it. This questioning of existence is followed by the line "Why not—lesser thing?" which implies a consideration of a simpler or more basic state of being, one that requires less struggle or engagement. The suggestion here could be a temptation to withdraw from active life or to relinquish the burdensome complexities of thought and ambition.

The poem then shifts its focus to others: "find out / what another will bring." This line hints at the possibility of finding meaning or relief through relationships or the insights of others, as if the speaker is contemplating whether connection with others could offer a different perspective or alleviate the existential "muddle." The line may suggest that while the self is mired in confusion, there could be value in observing or engaging with the lives of others as a means of escape or enlightenment.

The following lines, "Woman, addressed, speaks easily unless / she is depressed," offer a commentary on human behavior, specifically in the context of gender and emotional states. The phrase "speaks easily" implies a natural fluidity in communication, a quality that becomes obstructed by depression. Creeley’s mention of "depressed" here seems to reflect on how mental states affect one’s engagement with the world, suggesting that depression can inhibit the natural flow of expression and interaction.

The lines "Children, wiser, make their own things / unless thrown under the way," introduce the figure of children as symbols of resilience and creativity. In describing children as "wiser," Creeley suggests that they possess an innate ability to find satisfaction or create meaning on their own, unencumbered by the existential "muddle" that plagues adults. However, the phrase "unless thrown under the way" implies that even children’s wisdom and independence can be stifled by external forces or harsh realities. This line hints at the inevitability of conformity or hardship that eventually catches up to everyone, as "the way it was yesterday, will be also today and tomorrow." This repetition of time—yesterday, today, tomorrow—suggests a cyclical, almost monotonous pattern, reinforcing the poem’s theme of life’s repetitive, unchanging nature.

Through "The Plan," Creeley presents a contemplation on the nature of existence, the appeal of escape, and the inevitable struggles of the human condition. The speaker vacillates between a desire for peace and the recognition of life’s inherent entrapment, expressing both resignation and curiosity about what life—or others—might offer. The poem’s closing lines imply that, while children may embody a temporary wisdom, the repetitive nature of life and its challenges are unavoidable. Creeley captures a tone of weary introspection, tempered by fleeting moments of wonder and a restless search for understanding.

Ultimately, "The Plan" is a reflection on human vulnerability and resilience, as well as the paradox of existence: the desire to escape paired with an inescapable return to the “muddle” of life. Creeley’s sparse language and unadorned imagery lend a stark beauty to the poem, inviting readers to confront their own experiences of longing, frustration, and the search for peace amidst the complexities of being.

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