Classic and Contemporary Poetry: Explained

Robert Creeley’s "Thinking (4)" is a fragmented meditation on perception, understanding, and the limitations of knowledge. The poem grapples with the tension between what is known and unknown, addressing the gaps in comprehension that lie within the very structures we rely on to make sense of the world. Through incomplete thoughts, disrupted syntax, and ironic commentary, Creeley delves into the complexities of knowledge and the ways in which certainty and ambiguity coexist.

The opening line, "Had not thought of it ... / Had nor thought nor vacancy—" introduces an awareness of absence—both of thought and of space. The ellipsis after "Had not thought of it" suggests something left unspoken, an incomplete or trailing thought. This notion of "nor thought nor vacancy" implies a state of being that is neither full nor empty, a liminal space that exists between the two. Creeley appears to be reflecting on the moments where thought pauses, where there is neither active thinking nor total emptiness—a "space between." This phrase suggests a sense of suspension, a moment in which one hovers between knowing and not knowing, grasping at the elusive in-between.

The word "Linkage" implies a connection or association, an attempt to bridge the space between thoughts or ideas. It introduces the concept of "the system, the one after another—," suggesting that our understanding is often structured in a linear, sequential manner. This "system" is an arrangement we impose on the world to make sense of it, a method of linking ideas and experiences in a logical sequence. Yet, by questioning whether "the words agree" and "the sounds sound," Creeley hints at the limitations of language and sensory perception. Even if the words fit together and the sounds seem right, there is an underlying uncertainty—an awareness that these structures may not capture the full complexity of experience.

"The sea, the ng doe" is a curious and seemingly disjointed phrase, with "ng doe" potentially a typographical or intentional error. This odd combination of words might serve to disrupt coherence, drawing attention to the fallibility of language as a medium for conveying thought. The mention of "the sea" evokes a vast, encompassing presence, perhaps symbolizing the unconscious or the unknown. This line could imply that even within a structured system, there are elements that remain inexplicable or distorted—ideas or sensations that evade clear articulation.

The lines "Even in a wood they stood— / even without sound they are around" introduce a sense of presence that exists independently of perception. The imagery of standing in a wood, a place typically associated with natural sounds and life, conveys an idea of silent, pervasive existence. The repetition of "even" underscores the persistence of this presence, suggesting that certain truths or realities exist regardless of whether they are actively perceived or acknowledged. This presence is "around," permeating everything, even without making itself explicitly known. The phrase captures an essence of the unseen or the unacknowledged that continues to influence and shape the environment.

"Here and there, and / everywhere" expands this sense of omnipresence, as if the subject of the poem—a system, a knowledge, or perhaps even an entity—exists ubiquitously. This line mirrors the structure of Creeley’s earlier phrases, suggesting a continuity and persistence that cannot be confined to one place or time. The speaker seems to reflect on the expansiveness of thought, perception, or influence, hinting at something that is woven through all aspects of existence, permeating every "here" and "there."

The ironic lines, "All you people know everything! / All you know you know," introduce a shift in tone, from contemplative to critical. This exclamation carries a hint of sarcasm, directed at those who claim or believe they possess complete knowledge. The repetition of "know" underscores the self-assuredness of those who think they understand everything, yet the tone suggests that such certainty may be misguided. This statement critiques the illusion of absolute knowledge, implying that those who believe they "know everything" are perhaps blind to the limits of their own understanding. The speaker’s tone highlights the arrogance of assuming there is nothing left to learn, no mystery left to explore.

The line "Hence nothing else to?" is intentionally incomplete, leaving the reader with an open-ended question. This fragment implies that if one believes they already "know everything," there is no room for curiosity or further discovery—"nothing else" remains. However, the abrupt ending of this line with "to?" leaves it unresolved, reinforcing the idea that understanding can never be fully complete or contained. This unfinished thought serves as a reminder of the gaps and uncertainties that remain even within our structured systems of knowledge.

The final line, "- Laugh at / that dichotomy," invites the reader to reflect on the absurdity of trying to categorize knowledge as complete or incomplete, known or unknown. By suggesting that we "laugh at" this dichotomy, Creeley implies that the rigid separation between knowledge and ignorance is itself a construct, something that might be more productively approached with humor or lightness rather than rigid seriousness. This line acknowledges the complexity and paradox of knowledge, suggesting that rather than attempting to resolve or eliminate ambiguity, we might simply accept it and find amusement in its persistence.

Structurally, "Thinking (4)" is composed of fragmented thoughts and disjointed phrases, creating a sense of discontinuity and uncertainty. Creeley’s use of ellipses, incomplete sentences, and unconventional syntax reflects the poem’s exploration of the limits of knowledge and language. This fragmentation mirrors the nature of thought itself, which is often nonlinear and filled with gaps, contradictions, and unresolved questions.

Through "Thinking (4)," Creeley examines the tension between certainty and doubt, structure and ambiguity, knowledge and ignorance. The poem challenges the reader to confront the limitations of understanding, suggesting that even the systems we construct to make sense of the world are incomplete and flawed. In the end, "Thinking (4)" offers a reflection on the nature of thought and knowledge, encouraging an acceptance of ambiguity and a recognition of the spaces between—those moments where meaning is not fixed but fluid, where understanding slips through the gaps in our carefully constructed systems.

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