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Classic and Contemporary Poetry: Explained | |||
George Oppen's poem "Five Poems About Poetry: 4. Parousia" delves into the tension between the undeniability of the world's existence and the profound difficulty in fully understanding it. The term "parousia," which traditionally refers to the Second Coming of Christ, carries with it connotations of revelation, fulfillment, and the end of an era, all of which infuse the poem with a sense of existential gravitas and urgency. The poem begins with a stark assertion: "Impossible to doubt the world: it can be seen." Here, Oppen acknowledges the inescapable reality of the physical world. The act of seeing is equated with a kind of proof of existence; the world is there, undeniable in its presence. This line reflects a fundamental aspect of human experience: the immediate, sensory perception of reality, which forms the basis of our understanding of the world around us. However, the poem quickly introduces a paradox: "And because it is irrevocable / It cannot be understood." The use of "irrevocable" suggests that the world, once perceived, is fixed in its reality—unchangeable and absolute. Yet, this very permanence and tangibility make it elusive to true understanding. Oppen implies that the world’s unyielding nature, its resistance to alteration or manipulation, renders it beyond full comprehension. This paradox—that something so real and present can be so difficult to grasp in its entirety—sets the stage for the poem's exploration of human limitations. Oppen goes on to describe this fact as "lethal," suggesting that the inability to fully understand the world has dire consequences for humanity. This incomprehensibility may lead to a kind of existential crisis or "catastrophe," where the search for meaning becomes overwhelming or even destructive. The "Millennium of obsession" evokes a vision of humanity fixated on trying to decipher the world, perhaps leading to an era marked by intense anxiety or confusion as people grapple with the unanswerable questions posed by existence. The poem then shifts to a more contemplative, almost serene image: "air moving, / a stone on a stone, / something balanced momentarily." This momentary balance—ephemeral and delicate—serves as a metaphor for the fleeting nature of human understanding or harmony within the world. The image of a stone balanced on another stone suggests a fragile equilibrium, one that is easily disrupted. It reflects the precariousness of any sense of order or meaning that humans might construct in the face of the world’s overwhelming complexity. Oppen continues with the image of the lion, "in time might the lion / Lie down in the forest, less fierce / And solitary." The lion, traditionally a symbol of power and ferocity, is here imagined as becoming "less fierce" and "solitary." This transformation could symbolize a potential softening or reconciliation between humanity and the natural world, or between humans themselves. However, this vision is conditional and uncertain— "in time" suggests that it is a possibility rather than a certainty. The final lines of the poem, "the world, the walls / Of whose future may stand forever," return to the theme of the world's permanence and the unknowability of its future. The "walls" of the future evoke both protection and imprisonment, suggesting that the future is a boundary that cannot be crossed or fully seen. The word "may" introduces ambiguity, indicating that the future is both enduring and inscrutable, a constant presence that, like the world itself, cannot be fully understood or controlled. "Parousia" thus captures the tension between the undeniable reality of the world and the profound difficulty of comprehending it in its entirety. Oppen reflects on the potential consequences of this paradox, hinting at both existential despair and the possibility of fleeting moments of understanding or balance. The poem’s imagery of stones, lions, and walls evokes a world that is both tangible and mysterious, one that challenges humanity’s capacity for knowledge and meaning. Through this exploration, Oppen invites readers to consider the limits of human understanding and the ways in which we might come to terms with the vast, irrevocable reality that surrounds us.
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