Classic and Contemporary Poetry: Explained

In "Cities, Plains and People: 12," Lawrence Durrell crafts a meditation on the complexities of human experience, focusing on the interplay of darkness, love, art, and the search for meaning in a world marked by historical and cultural legacies. The poem traverses vast intellectual and emotional landscapes, from Europe’s cultural heritage to ancient Chinese philosophy, reflecting on the ways in which humanity grapples with the fundamental aspects of existence.

The poem begins with the arrival of darkness in Europe, "Dedicated by a soft unearthly jazz," a line that immediately evokes a mood of introspective melancholy, tinged with an almost otherworldly elegance. The music, "soft unearthly jazz," suggests a haunting, soulful atmosphere, setting the stage for the contemplations that follow. The phrase "The greater hearts contract their joys / By silence to the very gem" speaks to the intense, distilled emotions of those who possess deep wisdom or understanding—emotions that are so profound they are best expressed through silence, like a precious gem refined and perfected.

Durrell contrasts these "greater hearts" with "impertinent reformers" and "Barbarians with secretaries," figures who are more concerned with external change and bureaucratic power than with inner transformation. The mention of "old Cavafy," the Greek poet known for his reflections on history and identity, situates these reformers within a broader cultural critique. They are portrayed as enduring, unchanging figures in the landscape of history, whom "no war can remove."

The poem then shifts to a personal journey "through the ambuscades of sex, / The follies of the will, the tears," leading to a world where the "yellow emperor" once reigned. This emperor, likely referring to Huangdi, a legendary Chinese ruler associated with the origins of Taoism, symbolizes the pursuit of inner wisdom and the reconciliation of opposites. Durrell references the Tao, a central concept in Chinese philosophy that represents the fundamental nature of the universe and the path one must follow to align with it. The emperor's discovery of the Tao is presented as a moment of profound insight, where he "defined the Many and the None / As base reflections of the One," capturing the essence of unity within diversity.

Durrell then invokes "bifid Hamlet in the maze" and "the doppelgänger Goethe saw one morning," drawing on literary figures who represent the struggles of identity, duality, and the search for truth. Hamlet, known for his indecision and existential questioning, and Goethe’s doppelgänger, a symbol of the double or the shadow self, are both figures who grapple with the internal conflicts that define the human experience. These references highlight the tension between the individual’s inner world and the external forces that shape it.

The poet acknowledges the role of the artist in navigating these complexities, describing how "the artist by his greater cowardice / In sudden brush-strokes gave us clues." Here, Durrell suggests that art, despite its limitations, provides insights into the human condition—offering "clues" through its representations of figures like Hamlet and Faust. These characters become "front-page news," indicating their relevance and immediacy in contemporary culture.

The poem then returns to the figure of the "yellow emperor," who "first confirmed / By one Unknown the human calculus," a metaphor for the process of understanding the intricate balance between feeling and thought, between the personal and the universal. The "Chinese circle’s calm embrace" represents a harmonious worldview where these elements coexist within a balanced, holistic perspective.

In the final stanzas, Durrell addresses the "Dark Spirit, sum of all / That has remained unloved," which he identifies as the source of both creation and destruction. This spirit is "Gone crying through the world," embodying the unresolved aspects of existence, the unfulfilled desires, and the unloved parts of ourselves. The poet calls upon this spirit to "Quicken the giving-spring / In ferns and birds and ordinary people," invoking a desire for renewal and the spread of love and vitality in everyday life.

Durrell concludes by reflecting on the dualities that define existence—"our measure of perfection or of pain," both of which are "trespassers" within the "Darkness" that contains the essence of life. The poem’s final lines suggest that our temporal experiences, our "Here and Now," are subsumed within a greater, universal "Everywhere," where all opposites converge and find their place within the grand scheme of existence.

In "Cities, Plains and People: 12," Durrell weaves together themes of cultural legacy, philosophical inquiry, and the search for meaning, using rich imagery and allusions to explore the profound connections between personal experience and universal truths. The poem invites readers to consider the ways in which art, love, and the passage of time shape our understanding of the world, ultimately suggesting that these elements are all part of a larger, mysterious whole that we are only beginning to comprehend.

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