Classic and Contemporary Poetry: Explained

George Oppen's poem "A Theological Definition" is a compact and vivid exploration of the concept of happiness, subtly questioning the nature of truth and reality through a series of sensory images. The poem’s title suggests a consideration of deep, perhaps spiritual, questions, yet the content of the poem is grounded in the physical and the immediate, creating an intriguing tension between the abstract and the concrete.

The poem opens with the description of "A small room, the varnished floor / Making an L around the bed." This image immediately situates the reader in a specific, intimate space—an ordinary, confined environment that is nonetheless carefully observed. The detail of the "varnished floor" emphasizes the polished, perhaps cherished, nature of this setting, suggesting a place of comfort or significance.

The poem then introduces a philosophical reflection: "What is or is true as / Happiness." This line raises a complex question about the nature of happiness—whether it is something real and tangible ("is") or if it is something that can be considered true in a more abstract sense ("is true as"). The placement of this line amidst the detailed description of the room invites the reader to consider how physical spaces and sensory experiences relate to our understanding of happiness and truth.

The imagery continues with "Windows opening on the sea," expanding the poem's focus from the small room to the vast, open landscape beyond. The view of the sea is both expansive and grounding, contrasting with the confined space of the room. The "green painted railings of the balcony" introduce a human element—something constructed, deliberate, and maintained—against the natural backdrop of "the rock, the bushes and the sea running." This juxtaposition of the man-made and the natural world highlights the relationship between the internal, controlled space of the room and the untamed, dynamic forces outside.

In this context, the sea running can symbolize the flow of life, emotions, or even the passage of time—elements that are constant and powerful, yet often beyond human control. The room, with its L-shaped varnished floor and small dimensions, represents a personal, perhaps private, domain where one might attempt to find or define happiness.

The poem's theological implications come into play through its exploration of these ideas. The small room might represent the human attempt to create meaning or order in the face of the vastness and unpredictability of the natural world (the sea). The question of what constitutes "happiness" or what is "true" about happiness invites readers to reflect on the ways in which we construct our own realities, or our own versions of truth, within the confines of our personal experiences and perceptions.

"A Theological Definition" ultimately suggests that happiness, like truth, might be found in the intersection between the controlled, familiar spaces we inhabit and the larger, uncontrollable forces that surround us. The poem's imagery and structure encourage contemplation on how these elements coexist and influence our understanding of deeper, existential questions. Oppen's careful attention to both the physical details of the room and the vast, open landscape outside creates a rich, layered reflection on the nature of happiness and the human desire to find meaning in the world.

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