Classic and Contemporary Poetry: Explained

In "Antipolis" by James Dickey, the poet immerses us in a vividly rendered, mythically resonant journey through an ancient city, blending historical elements with deep personal and existential reflections. The poem is characterized by a palpable intensity of sensory experiences and a profound connection with the past, which becomes almost a medium for self-discovery and spiritual awakening.

Dickey begins by describing his movement through the city, "Through the town-making stones I step lightly." This phrase suggests both the literal cobblestones of the city and the metaphorical weight of history and civilization that they carry. His light step contrasts with the depth and heaviness of history, implying a sort of respectful, almost reverent, approach to moving through such a laden environment.

The market scene introduces a surreal, almost haunting element as the speaker notes how "Each thing in the market-place looks / Clear through me, not able to help it." This transparency suggests a ghost-like presence, where the speaker, though alive, interacts with the world in a way that transcends physicality. The "Squid lounging in death in their barrel" who "deepen the depth of their gaze" as they meet his eyes inject a vivid image of death that seems to look back at the living, providing a stark reminder of mortality.

As the speaker carries the gazes of the dead "Alive, and carry them out through the door / The Greeks made to give on the sea," there's a transformative interaction with the past. The doorway leading to the sea symbolizes a threshold between the ancient and the present, between the land and the vastness of history and myth represented by the ocean. This passage suggests a liberation or resurrection of these historical perceptions into the present moment, infused with personal significance.

The poem’s mood shifts as the speaker's heart begins to "shine in me like sunlight," an image that signals enlightenment or an epiphany. The ascent "up sill after sill" past "windows where women are washing / My strange, heavy, foreigner's clothes" further illustrates the theme of renewal and rebirth. These clothes, representative of his foreign identity in a historical and mythological landscape, are being cleansed, symbolizing a transformation of self in the process of engaging deeply with another culture and time.

Dickey's use of voice shifts dramatically as it "dwindles / To that of a child," highlighting a renewal of perspective and a rebirth of voice. Calling to his son, who "reads Greek somewhere below me," reinforces the connection between generations, between the ancient and the modern, and between the personal and the universal. The son’s response that "a dead tongue sings" evokes the continuity and revival of ancient wisdom, bridging temporal divides.

The concluding scenes on the "bread-colored rampart," overlooking the "powder-blue ocean," are rich with symbolism. The eyes he carries in his head, having witnessed historical events, now observe the present scene, suggesting a continuity of experience and a cyclical view of history. The flour on his hands, a residue from the market, metaphorically connects him to the daily life and labor of the past, while his reflection on Pericles' head on a coin ties personal identity to broader historical narratives.

Ultimately, "Antipolis" is a lyrical meditation on the layers of personal and historical identity, the power of place to evoke and shape our understanding of ourselves, and the deep, timeless connections that link us to our past and to each other. Dickey masterfully weaves a tapestry of imagery and emotion that captures the essence of encountering history as a vivid, living force that informs and transforms the present.

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