Classic and Contemporary Poetry: Explained

Robert Creeley';s poem "Company," written for the Signet Society on April 11, 1985, explores themes of memory, disillusionment, and the search for meaning in a world shaped by both historical events and personal reflection. The poem’s fragmented imagery and reflective tone evoke a sense of disconnection, examining how individuals navigate the passage of time, the struggle for purpose, and the impact of both collective and personal experiences. Creeley juxtaposes grand ideas with the seemingly trivial aspects of daily life, emphasizing the complexity of human existence and the difficulty of making sense of it all.

The opening line, "Backward—as if retentive," introduces the concept of looking back, suggesting a kind of clinging to the past or an inability to let go. The term "retentive" evokes the idea of holding on, whether it is to memories, experiences, or ideas, implying an attachment to what has been. This backward gaze sets the tone for the poem, as it navigates between memory and the present, attempting to find meaning in both.

The line "The child is father to the man / or some such echo of device" references the well-known line from William Wordsworth, suggesting that one';s past, particularly one';s childhood, shapes who they become as an adult. By referring to it as "some such echo of device," Creeley implies a sense of detachment or even skepticism about the power of this sentiment. The phrase "a parallel of use and circumstance" hints at the relationship between past experiences and present realities, suggesting that life is a series of interconnected moments, but without necessarily offering clarity or understanding.

"Scale become implication. / Place, postcard determinant— / only because someone sent it." These lines reflect on the arbitrary significance given to certain places or experiences. "Scale become implication" could imply that the importance we assign to something is often based on its perceived magnitude rather than its intrinsic value. The image of a "postcard determinant" suggests that the meaning of a place can be defined by someone’s choice to commemorate it—a place becomes significant because it was chosen to be remembered. This notion highlights the subjectivity of memory and meaning, implying that what we hold onto is often shaped by circumstance rather than substance.

"Relations—best if convenient. / ';Out of all this emptiness something must come . . .';" introduces a cynical view of relationships, suggesting that they are often maintained out of convenience rather than genuine connection. The quotation implies a desire for something meaningful to emerge from emptiness, echoing the existential struggle to find purpose in a seemingly indifferent world. This sentiment is further underscored by the following imagery: "Concomitant with the insistent banality, / small, still face in mirror looks simply vacant." The "insistent banality" refers to the repetitive, mundane aspects of life, while the "small, still face in mirror" suggests a sense of emptiness or disillusionment, as if the speaker cannot find meaning or depth within themselves.

"Hence blather, disjunct, incessant indecision, / moving along on road to next town / where what waited was great expectations again, empty plate." These lines evoke a sense of aimlessness and dissatisfaction. "Blather, disjunct, incessant indecision" captures the fragmented, often nonsensical nature of thought when there is no clear purpose. The image of "moving along on road to next town" conveys a journey, perhaps literal or metaphorical, in search of fulfillment. However, "great expectations again, empty plate" suggests that these expectations are never met—the promise of something meaningful is ultimately unfulfilled.

"So there they were, expectably ambivalent, / given the Second World War" introduces a historical context, hinting at the impact of the war on the collective consciousness. The phrase "expectably ambivalent" implies a sense of resignation, as if the ambivalence is a predictable reaction to the overwhelming events of the past. The mention of "the Second World War" evokes a period of disillusionment and trauma, which shapes the speaker';s perspective. The reference to John Keats’ line "to one who has been long in city pent" adds to the sense of confinement or being trapped, whether physically or emotionally, and suggests a longing for something beyond the limitations imposed by circumstance.

"We—morituri—blasted from classic humanistic / noblesse oblige, all the garbage of either so-called side," introduces a sense of shared experience and disillusionment. "Morituri" (those who are about to die) evokes a fatalistic perspective, as if the speaker and their contemporaries are facing an inevitable end. The phrase "blasted from classic humanistic / noblesse oblige" suggests a rejection of traditional ideals of duty and honor, as these values have been eroded or rendered meaningless by the harsh realities of modern life. The "garbage of either so-called side" points to the futility of taking sides in conflicts or ideologies, implying that both are ultimately flawed.

The imagery of "hung on to what we thought we had, / an existential raison d’être / like a pea some faded princess tries to sleep on" conveys a sense of fragility and illusion. The "existential raison d’être" (reason for being) is compared to "a pea" beneath a "faded princess," suggesting that this reason for being is both small and uncomfortable, barely perceptible yet significant enough to cause unease. It evokes the idea that the search for meaning is fraught with discomfort and instability, and that what we hold onto is often tenuous at best.

"We walked away / Recorders ages hence will look for us / not only in books, one hopes, nor only under rocks / but in some common places of feeling, / small enough—but isn’t the human / just that echoing, resonant edge / of what it knows it knows," reflects on the desire to be remembered and the hope that one’s legacy will be found in the shared human experience rather than solely in historical records. The "common places of feeling" suggests that true human legacy lies in the emotions and experiences that connect us all. The idea that "the human" is "just that echoing, resonant edge / of what it knows it knows" implies that our essence is found in our capacity for reflection, memory, and connection.

The poem concludes with "takes heart in remembering / only the good times, yet / can’t forget whatever it was, / comes here again, fearing this / is the last day, this is the last, / the last, the last." These lines convey a deep sense of nostalgia and fear. The speaker acknowledges the human tendency to "take heart in remembering / only the good times," while also recognizing that the past cannot be entirely forgotten—there are lingering memories that resurface, unbidden. The repetition of "the last, the last, the last" underscores the fear of finality, the anxiety that each moment might be the end, and the struggle to come to terms with the inevitability of endings.

"Company" by Robert Creeley is a profound meditation on memory, disillusionment, and the search for meaning in the face of historical trauma and personal reflection. Through fragmented imagery and a reflective tone, Creeley captures the tension between the desire for purpose and the disillusionment that comes from recognizing the emptiness of much of human experience. The poem explores the complexities of human legacy, the fleeting nature of meaning, and the resilience found in shared feelings and memories. Ultimately, "Company" is a poignant reflection on the human condition—our attempts to make sense of a complex world, our need for connection, and the inescapable reality of our own impermanence.

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