Classic and Contemporary Poetry: Explained

Robert Creeley';s poem "Figure of Fun" presents a fragmented and satirical image of a political figure, with subtle commentary on authority, history, and the passage of time. The poem’s spare, observational language constructs a portrait of a leader—likely a reference to a prime minister of Britain—by focusing on physical description and the surrounding historical and geopolitical context. Creeley’s minimalist style enhances the ironic undertones, as he presents a seemingly detached view of a person who embodies both the remnants of authority and the hollowed legacy of a once-powerful empire.

The poem opens with the description of a "Blue dressed aged blonde / person," immediately setting the visual tone for the figure at the center of the piece. This image of an older, blonde individual dressed in blue can be interpreted as a deliberate reference to a recognizable political figure—possibly a female leader given the description of hair and dress. The color blue evokes connotations of both tradition and authority, as it is often associated with conservatism and power in British political symbolism. By using the term "aged," Creeley suggests that this person is past their prime, a relic of an older era.

The mention of the "pin left / lapel" adds to the specificity of the portrait. The "pin" could signify a badge or emblem of office, something worn as a mark of political or national affiliation. However, the placement on the "left lapel" may be subtly ironic, as the left side of the body is often associated with the heart but also with liberal or progressive politics, which contrasts with the likely conservative figure being depicted. This small detail adds complexity to the figure';s characterization, suggesting a certain duality or contradiction within their identity.

Creeley’s physical description continues with "hair bulged to / triangular contained wide / blue grey eyed." The bulging hair, shaped into a triangle, implies an exaggerated or artificial appearance, as if the person is carefully crafted to maintain a particular image. The "blue grey eyed" individual, however, is now seen through a lens of age and wear, their authority diminished by the passage of time. The mention of the eyes—blue-grey—also carries symbolic weight. Blue eyes often signify coldness or distance, while grey suggests wisdom tempered by age. Together, they reinforce the idea of a once powerful but now diminished figure, whose gaze perhaps once held sway but now appears distant or dispassionate.

The next lines—"now / authority prime minister / of aged realm"—firmly situate this figure in a position of political power, though with a tone that implies the authority is more symbolic than substantial. The "aged realm" further emphasizes the sense of decline, suggesting that this leader presides over a nation that is no longer at the height of its power. The phrase "authority prime minister" lacks the definite article, which adds a sense of abstraction, as if the figure is less a real person and more a representation of a role or institution. This vagueness enhances the satirical tone, as it implies that the figure’s authority is more performative than real.

Creeley’s description of the setting, "this / hallowed hollowed ground / lapped round with salted water," introduces a metaphorical landscape that reflects the diminished state of the leader and their realm. The ground is "hallowed" but also "hollowed," suggesting that what was once sacred or revered has been emptied of its substance. The choice of the word "hallowed" evokes the idea of tradition and respect, while "hollowed" undermines it, pointing to the decay or emptiness beneath the surface. The image of water "lapped round" the land evokes Britain’s island status, reinforcing its physical and symbolic isolation.

The mention of "salted water" suggests a sense of bitterness or desolation, as if the sea itself is a barrier that both protects and imprisons the nation. The "tunnel" that runs "to far off France and history" adds a further layer of irony. The Channel Tunnel, connecting Britain to France, symbolizes a link to the continent that Britain historically sought to distance itself from, particularly during times of imperial and nationalistic pride. The reference to "history / once comfortably avoided" highlights the tensions between Britain’s past and its present, suggesting that the nation, and its leader, can no longer escape the realities of history and their diminished role on the global stage.

In this poem, Creeley uses the figure of the prime minister as a "figure of fun"—not in the sense of amusement, but rather as a hollow symbol of what once was. The leader, dressed in blue and marked by age, presides over an "aged realm" that clings to its former glory while being forced to confront its historical and geographical reality. The tunnel to France becomes a symbol of the unavoidable connection to history that can no longer be ignored or avoided, despite the attempts of previous generations to maintain a comfortable distance from the continent and its complications.

Structurally, "Figure of Fun" is a brief yet densely packed poem, where every word carries weight and adds to the layered meaning. Creeley’s free verse style, with its lack of punctuation and enjambment, mirrors the fractured sense of identity and authority experienced by the central figure. The irregular line breaks create a staccato rhythm that mimics the disjointedness of the leader’s role—someone who is part of history but also adrift in the present, struggling to maintain relevance.

Ultimately, "Figure of Fun" offers a critical reflection on the nature of authority and legacy. The poem’s title itself is laden with irony—this figure is no longer one of true power or respect, but rather a caricature of leadership, emblematic of a nation that must come to terms with its reduced status in the modern world. Creeley’s subtle and economical use of language allows for multiple readings, but at its core, the poem is a meditation on the fading power of political figures and the nations they represent.

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