Classic and Contemporary Poetry: Explained

In "Skull," Robert Creeley grapples with mortality, the impermanence of life, and the inevitability of death. The poem's two parts, “Skull” and “The Star,” contrast the end of physical existence with the expansive possibilities that exist beyond it. In "Skull," Creeley uses stark, meditative language to confront the cessation of life, while in "The Star," he shifts to a broader, almost transcendental reflection on the limitless nature of existence after death. Together, these sections create a balanced exploration of life’s finite and infinite aspects, conveying a sense of acceptance and contemplation that is both haunting and serene.

The first line, “Come closer. Now there is nothing left,” serves as an invitation to confront death directly. Addressing the reader intimately, Creeley opens with a tone of finality, as though the speaker—embodied by the skull—has reached the end of a journey. The line suggests a need for closeness or understanding, as if drawing nearer to death might reveal something essential. This approach to mortality is unembellished, almost stoic, as the skull itself seems to acknowledge that there is "nothing left either inside or out to gainsay death." This phrase captures the inescapable nature of mortality, emphasizing that death silences all questions, doubts, and resistances.

The “skull that keeps its secrets” introduces the idea that death holds mysteries beyond human comprehension. The skull, a universal symbol of death, speaks to the finality and unknowability of what lies beyond life. By stating that the skull “keeps its secrets,” Creeley suggests that there are aspects of death that remain beyond human understanding, held within the silence and stillness of the bone itself. This image imbues death with a quiet, profound mystery, underscoring the limits of human perception.

“The ways one went, the forms that were / empty as wind and yet they stirred / the heart to its passion” recalls the fleeting but intense experiences of life. Although life’s forms are “empty as wind,” meaning they are transient and insubstantial, they still have the power to ignite passion and emotion. This line highlights the paradox of existence: although life is temporary and insubstantial, it can feel deeply meaningful and vibrant. Creeley captures the bittersweet nature of this realization, as if to say that even the most passionate experiences are ultimately ephemeral, “passed over” as life comes to an end.

In “Lighten the load. Close the eyes. / Let the mind loosen, the body die,” Creeley evokes a sense of release and surrender. These lines reflect the process of letting go, as if the speaker is preparing to accept the final moments of life. The repetition of simple directives, such as “close the eyes” and “let the mind loosen,” creates a meditative rhythm, underscoring the peaceful acceptance of death. The imagery of “the bird fly[ing] off to the opening sky” provides a hopeful metaphor for the soul’s release, suggesting that death is not an ending but a return to freedom or transcendence. This image of the bird, often symbolic of the spirit, emphasizes the idea of liberation from physical constraints, aligning death with a kind of natural release.

“The Star” shifts the focus from the finite experience of death to a cosmic, boundless perspective. The opening line, “Such space it comes again to be,” suggests an emergence into something vast and incomprehensible. The phrase “a room of such vast possibility” evokes the idea that existence continues in some form after death, expanding into dimensions beyond earthly understanding. This space represents a realm of freedom and potential, as if the soul or consciousness is entering a realm where limitations no longer apply.

Creeley describes this space as possessing “a depth so great, a way so free,” reinforcing the boundlessness of what lies beyond life. In contrast to the restricted, finite existence on earth, this posthumous “room” offers infinite possibility. The repetition of “so” emphasizes the magnitude of this realm, suggesting that it is beyond any measure or comprehension. Here, life and its confines—represented in the earlier stanzas by the body and mind—seem small and constrained in comparison to this infinite expanse.

The lines “Life and its person, thinking to find / a company wherewith to keep the time” speak to the human desire for companionship and continuity, even beyond death. “A peaceful passage, a constant rhyme” suggests a longing for harmony and continuity, as though the soul seeks a rhythm or meaning to carry it forward. Yet, the phrase “stumble perforce, must lose their way” acknowledges the inherent difficulty of navigating such an expansive existence, emphasizing the uncertainty that accompanies both life and death. Even in this vast cosmic realm, one can “lose their way,” highlighting the persistence of human limitations.

The final line, “stars in the sky, children at play,” brings the poem full circle, blending images of innocence and vastness. The “stars in the sky” represent the infinite, the eternal, while “children at play” evoke a sense of purity, spontaneity, and renewal. This dual image suggests that in the realm beyond life, there is a return to innocence or a state of perpetual wonder. It also implies that life, like children’s play, is both ephemeral and cyclical, something precious yet fleeting within the larger universe.

In "Skull," Robert Creeley juxtaposes the finite nature of physical life with the boundless possibilities of what may follow. The first part, “Skull,” captures the stark reality of mortality, acknowledging the finality of death and the quiet acceptance that comes with it. The second part, “The Star,” shifts to a cosmic perspective, suggesting that death is not an end but a transition into something vast and mysterious. Through this dual structure, Creeley reflects on the fragility of human existence while hinting at an expansive continuity that transcends life’s limitations. Ultimately, the poem invites readers to confront mortality while embracing the possibility that, beyond death, there may exist a realm of endless potential and innocent wonder.

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