Classic and Contemporary Poetry: Explained

Louis Simpson's poem "My Father in the Night Commanding No" delves into the complex dynamics of family, memory, and the interplay between reality and imagination. The poem, rich with imagery and introspective reflection, explores the relationship between the speaker and his parents, the passage of time, and the enduring influence of childhood experiences on one's perception of the world.

The poem opens with the image of the father, a commanding figure who enforces discipline: "My father in the night commanding No / Has work to do. Smoke issues from his lips." The father's presence is authoritative and distant, shrouded in the mystery of adulthood. The mention of smoke suggests a sense of obscurity or something being hidden, as if the father’s work and inner life are inaccessible to the child. The night setting, with "the frogs croaking and the streetlamps glow," creates an atmosphere of quiet introspection and latent tension.

The mother, in contrast, is associated with stories and music: "And then my mother winds the gramophone; / The Bride of Lammermoor begins to shriek — / Or reads a story / About a prince, a castle, and a dragon." Her actions bring a different kind of energy to the night, one of narrative and fantasy. The reference to *The Bride of Lammermoor*, a tragic opera, introduces a theme of sorrow and drama, which contrasts with the more domestic and controlled environment established by the father's presence. The mother's stories, filled with princes and dragons, evoke a world of imagination that captivates the child, offering both escape and insight into the larger world.

As the poem progresses, the speaker reflects on the mythical and legendary world that these stories have introduced to him: "I stand before the gateposts of the King — / So runs the story — / Of Thule, at midnight when the mice are still." The reference to Thule, a mythical land at the edge of the known world, symbolizes the speaker's journey into the unknown, both in the literal sense of growing up and in the metaphorical sense of confronting the challenges and dangers of life. The speaker asserts, "And I have been in Thule! It has come true — / The journey and the danger of the world," suggesting that the fantastical stories have shaped his understanding of the real world and its trials.

The poem then shifts to a more personal reflection, as the speaker contemplates the places he has been led to by life: "Landscapes, seascapes ... where have I been led? / The names of cities — Paris, Venice, Rome — / Held out their arms. A feathered god, seductive, went ahead." The mention of these iconic cities, synonymous with culture and history, indicates the allure of the wider world and the seductive pull of exploration and adventure. The "feathered god" suggests a guiding force or inspiration that has led the speaker on his journeys, both physical and emotional.

Returning to the domestic scene, the speaker finds comfort in the familiarity of home: "Here is my house. Under a red rose tree / A child is swinging; another gravely plays. / They are not surprised / That I am here; they were expecting me." This image of children playing under a rose tree suggests innocence and continuity, as if the speaker's return is part of an ongoing cycle. The children’s lack of surprise implies a deep connection to the speaker’s past, where the boundaries between memory, reality, and expectation blur.

However, the poem's tone shifts again as the speaker contemplates the static nature of the family dynamic: "And yet my father sits and reads in silence, / My mother sheds a tear, the moon is still, / And the dark wind / Is murmuring that nothing ever happens." Despite the speaker's experiences and growth, the parents remain unchanged, locked in their roles and emotions. The "dark wind" that "murmurs" suggests a pervasive sense of inevitability or resignation, as if life’s fundamental dynamics are unalterable.

The poem culminates in a poignant meditation on the nature of family roles: "The actors in that playhouse always sit / In fixed positions — father, mother, child / With painted eyes. How sad it is to be a little puppet!" The imagery of a playhouse and puppets evokes the idea that the roles within the family are predetermined, with each member acting out their part without the ability to change or express themselves freely. The "painted eyes" symbolize the emotional detachment and the inability to escape from these fixed roles.

The final lines of the poem bring a sense of closure and melancholy: "Father, why did you work? Why did you weep, / Mother? Was the story so important? / 'Listen!' the wind / Said to the children, and they fell asleep." These questions address the futility and sadness that the speaker perceives in his parents’ lives—the work, the tears, the stories—all of which seem to have been in vain. The wind, a recurring motif in the poem, speaks to the children, lulling them into sleep, symbolizing the inevitable passing of time and the continuation of the cycle.

"My Father in the Night Commanding No" by Louis Simpson is a powerful exploration of the familial roles that shape our lives, the impact of childhood on our understanding of the world, and the tension between the realities of life and the fantasies we create to make sense of it all. Through its evocative imagery and reflective tone, the poem captures the complexity of family relationships and the bittersweet nature of growing up and coming to terms with the unchanging aspects of life.

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