Classic and Contemporary Poetry: Explained

Lawrence Durrell's poem "Cities, Plains and People: 1" is a reflective and evocative exploration of childhood, memory, and the process of growth. Through a richly textured narrative, Durrell captures the essence of innocence and the inevitable loss that accompanies maturation. The poem paints a vivid picture of the poet’s early life, set against the backdrop of vast, mythical landscapes like the Himalayas and Tibet, which serve as metaphors for the grandeur and mystery of the world as seen through a child’s eyes.

The poem begins with the line "Once in idleness was my beginning," which sets the tone for the entire piece. The word "idleness" suggests a state of unhurried, carefree existence, a time of innocence and freedom from responsibility. This idea of idleness is contrasted with the notion of "Night" being "to the mortal boy / Innocent of surface like a new mind," suggesting a purity and untainted perception of the world, free from the complexities and burdens of adult consciousness.

Durrell then introduces the image of "the Himalayas like lambs," which "Stir their huge joints and lay / Against his innocent thigh a stony thigh." This personification of the mountains as gentle, almost nurturing creatures reflects the child's sense of wonder and connection with the natural world. The juxtaposition of the "stony thigh" of the mountains with the "innocent thigh" of the boy emphasizes the child's vulnerability and the raw, unfiltered experience of the world around him.

The poem continues with imagery of "Combs of wind" moving through grass, and "leopards, feathers fell or flew" on the "tasteless wind." These lines evoke a sense of movement and life within the natural world, yet there is a detachment, as everything seems to "go north with the prayer-wheel," hinting at a spiritual journey or quest that the child is unknowingly part of. The reference to the "road, the quotation of nightingales" suggests a path lined with beauty and song, but also one that leads towards something greater and unknown.

Durrell’s mention of "springs / Where the stone gushed water" and "Women made their water like thieves" introduces a sense of the sacred and the profane, as the natural and the human intermingle in this landscape. The women’s actions, described as those of "thieves," may suggest a furtive, perhaps forbidden, relationship with the sacred springs, highlighting the complexity of human interaction with the divine or natural world.

The poem shifts to a more personal reflection with "On draughty corridors to Lhasa / Was my first school." Lhasa, the capital of Tibet, symbolizes a place of spiritual learning and discovery, and the "draughty corridors" evoke a sense of cold, barren spaces—perhaps reflective of the hardships and challenges of early life lessons. The image of "faces lifted from saddles to the snows" conveys a sense of reverence and awe, as those on the journey look up to the towering, majestic peaks, symbols of something greater than themselves.

Durrell then reflects on his own growth, noting that "Sex was small, Death was small," during his childhood, both reduced in significance by the "lens of this great patience." This "patience" could be interpreted as the patience of the natural world, of the mountains and plains that endure through time, or as the patience of the child who, in his innocence, is yet to fully grasp the weight of these concepts. The poem suggests that during this time, life’s grander themes—like sex and death—were part of a "deathless essence," understood in a timeless, almost mythic context.

The poem concludes with an address to those who "turn and start descending / The long sad river of their growth," which is a metaphor for the journey from innocence to experience, from childhood to adulthood. Durrell describes this journey as a "tidebound, tepid, causeless / Continuum of terrors in the spirit," capturing the inevitable fears and uncertainties that come with growing up. Yet, he offers solace in the idea of an "unending / In idleness an innocent beginning," suggesting that the memories of childhood innocence can serve as a refuge or source of strength in the face of life’s challenges.

The final line, "Until your pain become a literature," encapsulates the transformative power of art and writing. Durrell suggests that the experiences of life, even the painful ones, can be redeemed and given meaning through the act of creation—through turning personal pain into literature. This ending ties back to the beginning of the poem, where the innocent idleness of childhood serves as the foundation for the deeper, more complex understanding that comes with maturity and artistic expression.

In "Cities, Plains and People: 1," Durrell masterfully weaves together themes of innocence, growth, and the passage of time. The poem is a meditation on the journey from the simplicity of childhood to the complexities of adulthood, framed by the vast, enduring landscapes that mirror the internal landscapes of the soul. Through his rich imagery and reflective tone, Durrell invites the reader to consider the ways in which our early experiences shape our understanding of the world, and how the act of writing can transform and give meaning to our lives.

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