Classic and Contemporary Poetry: Explained

Robert Creeley';s "Flaubert';s Early Prose" offers a wry, satirical take on the existential musings that can often permeate literature, particularly the works of Gustave Flaubert, whose influence is signaled by the title. Creeley, known for his minimalist and fragmented style, here adopts a more humorous tone to dissect the banality and inevitability of death, portraying life’s repetitive cycles and its ultimate futility. Through ironic detachment, the poem explores how various conventional paths—whether dramatic or mundane—all lead to the same inevitable conclusion: death. However, Creeley’s poem goes beyond simply contemplating mortality; it reflects on how literature and narrative structure often attempt to impose meaning on the chaotic randomness of life, only to come up against its absurdity.

The poem begins with the quote: “Eventually he dies out of a lack of will to live, out of mere weariness and sadness…” This line evokes a typical literary sentiment of ennui and despair, which has a long tradition in Western literature, particularly in the works of existentialist writers like Flaubert. The figure of the man who dies not from any specific cause but from an overwhelming sense of weariness is familiar—a trope of the disillusioned intellectual, drained of purpose. Yet, Creeley immediately undercuts this somber notion with the sudden, absurd shift in imagery: “And then he is hit by a truck on his way home from work and/or a boulder / pushed down onto him by lifelong friends of the family.” This juxtaposition of tragic weariness with the almost slapstick violence of being hit by a truck or crushed by a boulder exposes the absurdity of life’s random tragedies. The inclusion of "lifelong friends of the family" as the ones pushing the boulder adds a touch of dark humor, suggesting betrayal or the perverse randomness of human relations.

The poem continues to explore variations on this theme of death, each one progressively undermining the seriousness of the traditional literary treatment of mortality. Creeley writes, “Or he goes to college, / gets married, / and then he dies!” This path, far more mundane than death by boulder or truck, is the quintessential "ordinary" life. Creeley reduces the stages of life—college, marriage, and death—to a kind of checklist, as if moving through these milestones guarantees nothing more meaningful than a predictable end. The inclusion of an exclamation mark after "he dies!" adds an ironic cheerfulness to the finality, mocking the idea that life’s conventional milestones bring any real transcendence or depth.

Then, in a further twist, Creeley presents the possibility that “he doesn’t die at all, / just goes on living, / day after day in the same old way...” This scenario, in some ways, is even more bleak than death. The drudgery of endless routine without the release of an endpoint underscores the existential dread of a life that simply continues without meaning or closure. The idea of living "day after day in the same old way" evokes a sense of stagnation, where life becomes a monotonous cycle without purpose or direction. This taps into existential themes of futility and repetition, questioning whether life without death—an infinite continuation of the same—might be even more unbearable than death itself.

The speaker then shifts to a more personal reflection on this “intensively sensitive person,” remarking, “He is a very interesting man... but he has to die somehow.” This line introduces a sense of inevitability, suggesting that regardless of how interesting or sensitive a person may be, death is an inescapable part of life. The speaker’s tone is both bemused and detached, as if acknowledging the futility of trying to impose meaning or significance on a life that must end in the same way as any other. Even the most introspective, thoughtful individuals are subject to the same fate. This acknowledgment of mortality echoes themes found in Flaubert’s own works, which often grapple with the limitations of human desire and the indifference of the universe.

The poem then moves toward its final scenario: “so he goes by himself to the beach, / and sits down and thinks, / looking at the water to be found there...” This image of a man sitting by the sea, contemplating the meaning of life, is deeply archetypal, evoking both literary and existential traditions. The sea, often symbolic of the vast, unknowable forces of nature, becomes a mirror for the speaker’s internal questioning. The man asks, “Why was I born? Why / am I living?”—classic existential questions that lie at the heart of human consciousness. These are the same questions that have driven philosophical inquiry for centuries, from the Greeks to modern existentialists like Sartre and Camus.

However, Creeley’s tone remains ironic and detached, as he likens the man’s existential musings to “an old song, cheri.” This comparison to a song, something repetitive and familiar, diminishes the gravity of the man’s questions. It suggests that these profound existential concerns are, in fact, cliché, part of the tired repertoire of human thought, endlessly recycled through literature and art. The use of “cheri,” a term of endearment, further undercuts the seriousness of the moment, adding a playful, almost condescending tone to the scene.

The poem concludes with the simple, stark statement: “and then he dies.” This abrupt ending serves as a final reminder of the inevitability of death, no matter how much time one spends contemplating the meaning of life. The poem as a whole underscores the futility of trying to escape or transcend this final truth. In its structure, "Flaubert’s Early Prose" mimics the cycles of life itself—various scenarios and possibilities are presented, each leading back to the same conclusion, whether through sudden violence, banal routine, or prolonged reflection.

In "Flaubert';s Early Prose," Creeley masterfully uses humor and irony to explore existential themes, particularly the inescapable nature of death and the absurdity of life’s attempts to find meaning. By presenting multiple variations on the ways one can die—or avoid death—Creeley highlights the randomness of life and the futility of seeking deeper significance in a world that is ultimately indifferent to human suffering or achievement. Through its playful yet poignant tone, the poem invites the reader to reflect on the absurdity of existence while acknowledging the universal inevitability of death.

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