Classic and Contemporary Poetry: Explained

In "Parade," Robert Creeley weaves a complex meditation on identity, mortality, and the human pursuit of meaning. The poem’s structure and tone suggest a philosophical inquiry that oscillates between personal reflection and universal observation. Through fragmented images and probing questions, Creeley explores the concepts of measurement, identity, and the inevitability of death, culminating in a resigned but quietly celebratory acknowledgment of life’s fleeting moments. The title, "Parade," evokes a procession or a journey, suggesting that life itself is a forward-moving spectacle, with each person playing a role in an inevitable march toward mortality.

The poem opens with the line, “Measure’s inherent in the weight, the substance itself the person,” immediately grounding the idea of measurement in physicality and substance. This suggests that identity, or a person’s value, is inseparable from the tangible reality of their being—“weight” and “substance.” Creeley implies that identity is not something abstract but an embodied experience; who we are is bound up in the physical presence we bring to the world. This line explores the notion that we are defined by our intrinsic qualities rather than external validations, with “measure” implying both worth and limitation. By emphasizing that measurement is “inherent,” Creeley hints that each person’s potential, and perhaps even their destiny, is embedded in their very being, suggesting a deterministic view of identity shaped by physical and existential constraints.

The series of questions that follows—“How far, how long, how high, what’s there now and why”—reflects an existential inquiry into purpose and progress. These questions convey a sense of restless curiosity, an attempt to quantify or understand one’s position in the world. The questioning itself mirrors the human drive to understand and measure one’s accomplishments, limitations, and motivations. Yet, these questions go unanswered, underscoring the futility of trying to fully comprehend the self or one’s purpose. Creeley’s phrasing suggests that the act of questioning is intrinsic to the human experience, even if answers remain elusive.

The poem’s middle section shifts from inquiry to expressions of distress and physical tension: “Cries in the dark, / screams out, / silence, / throat’s stuck.” This sequence moves from vocal expressions of anguish to a choked silence, capturing a progression from expression to suppression. The phrase “cries in the dark” suggests loneliness and despair, as if the speaker or an unseen subject is attempting to make sense of an inner turmoil or existential angst. The line “throat’s stuck” conveys a feeling of being trapped, unable to articulate or release pent-up emotions. This image captures the limitations of language and the struggle to express complex feelings, especially in moments of isolation or existential crisis. This inability to communicate reflects a common human experience, where the weight of emotion becomes too overwhelming to put into words.

“Fist’s a weak grip, / ears blotted with echoes, / mind fails focus / and’s lost” continues this exploration of physical and mental constraint, portraying the gradual breakdown of bodily control and clarity of thought. The “weak grip” of the fist symbolizes diminished strength or resolve, suggesting that the speaker is struggling to hold on to something important but is losing their ability to do so. The “ears blotted with echoes” implies a mind crowded with residual thoughts or memories, distorting present perception. Together, these lines paint a picture of sensory overload and mental fatigue, as though the speaker’s faculties are overwhelmed by the weight of experience and introspection. The final phrase, “mind fails focus / and’s lost,” emphasizes the disorientation that comes from the attempt to grasp an ungraspable reality. Creeley seems to suggest that in moments of deep reflection or crisis, the mind can lose its grounding, caught in an endless cycle of questions without clear answers.

The following lines—“Feet first, / feet last, / what difference, / down or up”—invoke a sense of resignation. These lines seem to address the inevitable journey toward death, whether one approaches life “feet first” with boldness or “feet last” with hesitation. The phrase “what difference, / down or up” implies a certain futility in attempting to control the trajectory of one’s life. It reflects a philosophical acceptance that the direction one takes is ultimately irrelevant, as all paths lead to the same end. This perspective suggests a leveling effect, where life’s highs and lows, triumphs and failures, ultimately hold the same weight when viewed in the context of mortality.

The line “You were the shape / I took in the dark” introduces an intimate moment, likely alluding to a relationship or a meaningful connection. This phrase can be interpreted as an acknowledgment of the influence that another person has had on the speaker’s identity. The idea of taking “shape” in another’s presence hints at the way relationships can mold or define one’s sense of self, particularly in times of vulnerability. The following line, “You the me / apprehended,” reinforces this idea, suggesting that through the other person, the speaker has come to a greater understanding of themselves. The term “apprehended” carries a dual meaning, implying both comprehension and capture, as though the speaker has found clarity and constraint in their connection with this other person.

The exclamatory “Wonders!” signals a brief moment of awe, a recognition of life’s beauty or mystery even amid its darker realities. This word stands alone, capturing a fleeting, almost childlike sense of amazement that interrupts the poem’s otherwise somber tone. However, it is quickly tempered by the following phrase, “Simple fools, / rulers, all of us / die too,” which brings the reader back to the inevitability of death. This line suggests that regardless of one’s status, wisdom, or achievements, all people share the same fate. Creeley levels the playing field, reminding us that life’s distinctions and hierarchies ultimately dissolve in the face of mortality.

The closing lines—“On the way / much happiness / of a day, / no looking back”—leave the reader with a sense of acceptance and even contentment. “On the way” implies that life itself is a journey, and that along this path, moments of joy and fulfillment can be found. The phrase “much happiness / of a day” suggests a focus on the present, on finding pleasure in life’s small, immediate moments rather than dwelling on the past or worrying about the future. The directive “no looking back” encourages a forward-moving approach, advocating for a life lived with appreciation for the present rather than regret for the past.

Structurally, "Parade" employs Creeley’s minimalist, fragmented style, with each line presenting a distinct image or thought that builds on the last. The lack of punctuation and seamless flow create a sense of continuity, as though each line is part of a procession—a “parade” of thoughts, reflections, and images that mirror life’s progression. This structure reinforces the poem’s themes of impermanence and transience, with each line serving as a fleeting moment that contributes to the whole but remains distinct in its brevity.

In "Parade," Creeley explores the ephemeral nature of life, the struggle for self-understanding, and the inevitability of mortality. Through his spare, evocative language, he invites readers to reflect on the paradox of human existence, where moments of awe and despair, connection and isolation, coexist within a single experience. The poem’s closing lines offer a note of optimism, suggesting that while life is marked by inevitable endings and unanswerable questions, it also holds the potential for happiness in its simplest moments. Ultimately, "Parade" serves as both a meditation on life’s impermanence and a quiet celebration of the beauty found along the way, urging readers to embrace the journey without dwelling too heavily on its conclusion.

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