Classic and Contemporary Poetry: Explained

"Passages 24: Orders" by Robert Duncan is a deeply philosophical and evocative poem that explores themes of moral responsibility, the abuse of power, and the transcendent nature of good within the context of societal and historical violence. Duncan integrates references to history, literature, and philosophy to construct a complex narrative that questions the nature of authority and the individual's role in resisting or perpetuating violence.

The poem begins with a meditation on "the Good," which Duncan describes in terms of intellectual, communal, and spiritual benefits— "il ben dell' intelletto, the good of the people, the soul's good." This introduction sets the stage for a reflection on the ethical and moral decisions that individuals and societies make. Duncan implies that the quest for this 'good' often necessitates a reevaluation and sometimes a rejection of past allegiances, particularly those that involve complicity in injustice.

Duncan's mention of "the old mysteries, sweet muthos our mouth's telling" refers to the traditional roles of poets and their narratives, which he feels compelled to set aside in favor of confronting harsh realities—symbolized by the "dirty papers, monies, laws, orders and corpses." This imagery powerfully evokes the tangible outcomes of political and social orders that perpetrate violence and oppression, insisting that to truly seek the good, one must face these realities directly.

The poet's reflection moves to a specific historical and geopolitical instance—the conflict in Santo Domingo (Dominican Republic), which serves as a case study for exploring the violence carried out by "armed men," representing oppressive political powers. Duncan draws parallels between this and the medieval massacre at Béziers during the Albigensian Crusade, where the infamous command was given: "Kill them all; the Lord will know His own." This historical reference underscores the perennial problem of violence justified by authority and the tragic consequences of such orders.

Duncan's personal reflections on his literary influences and predecessors—Eliot, Williams, H.D., and Ezra Pound—reveal his contemplation on the role of the poet in society. He acknowledges the complex "cunning passages, contrived corridors" of history, a line borrowed from T.S. Eliot, to illustrate the intricate and often convoluted paths through which human actions and history unfold.

The poem culminates in a philosophical assertion about the universe's order, which does not dissolve even in the face of human evil. This idea is supported by a quote from the ancient Stoic philosopher Epictetus about the nature of corruption and transformation—"That which is corrupted is corrupted with reference to itself but not destroyed with reference to the universe; for it is either air or water." Here, Duncan suggests a kind of cosmic balance or recycling that transcends human failings and violence.

"Passages 24: Orders" is a potent reminder of the poet's role in witnessing, resisting, and perhaps reshaping the narratives of power that define human societies. Duncan challenges the reader to consider the impact of historical violence, the potential for personal and communal good, and the enduring order of the cosmos amid human chaos. His integration of philosophical discourse, historical context, and personal introspection creates a multifaceted exploration of how individuals and societies navigate the complex terrain of moral and ethical dilemmas.

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