Classic and Contemporary Poetry: Explained

In "Cities, Plains and People: 6," Lawrence Durrell crafts a contemplative and introspective poem that reflects on the passage of time, the nature of consciousness, and the existential condition of humanity. The poem, rich in imagery and metaphor, captures a sense of melancholy as it explores the interplay between the external world and the inner self, particularly in the context of a November landscape that evokes thoughts of decay and introspection.

The poem begins with the line "Now November visiting with rain," immediately setting a somber, reflective tone. November, often associated with the onset of winter and the decline of the year, brings with it a "taste of elsewhere," a sense of something distant or removed. This phrase suggests a feeling of dislocation or nostalgia, as if the rain carries with it memories or sensations from another time or place. The rain "Surprises and humbles," indicating that it catches the observer off guard, reminding them of their place in the larger, uncontrollable cycle of nature.

The rain "Licks in the draughty galleries there," personifying the weather as it moves through "draughty galleries," which could symbolize both physical spaces and the corridors of the mind. The mention of a "country member quickened by a province" evokes a figure who is stirred by a connection to a specific place or memory, hastily "Turning over books and leaves," perhaps searching for meaning or comfort in the familiar. The image of the rain eventually taking "her slow stains of waste / Down the stone stairs into the rivers" captures the inevitable process of decay and the flow of time, as the remnants of autumn are washed away, blending into the larger current of life.

Durrell then shifts focus to "the personal heart," which is "weary / Of the piercing innocents in parks." This weariness reflects a sense of fatigue or disillusionment with the innocence or naivety often associated with youth or those who are unburdened by deeper existential concerns. The "piercing innocents" are described as "sailing the rapt subconscious there like swans," a metaphor that suggests these figures glide effortlessly over the surface of life, unaware of the darker, more complex currents beneath. The swan imagery conveys both beauty and a certain aloofness, as these innocents seem detached from the struggles of deeper consciousness.

However, the rain "Disturbs and brightens with her tears," indicating that this external force brings both disruption and clarity to the observer's thoughts. The rain's tears might symbolize a cathartic release, allowing the observer to confront emotions that had been repressed or unacknowledged. The contemplation that follows leads to a profound realization: "Perhaps after all it is we who are blind, / While the unconscious eaters of the apple / Are whole as ingots of a process."

Here, Durrell invokes the biblical story of Adam and Eve, the "unconscious eaters of the apple," to explore the idea that those who are unaware of their own knowledge or sinfulness might be more integrated or complete ("whole as ingots") than those who are burdened by awareness. The "process" mentioned suggests a natural, perhaps inevitable, progression or transformation that occurs in life, one that is "Punched in matter by the promiscuous Mind." This final metaphor emphasizes the random, chaotic nature of thought and existence, where the mind—described as "promiscuous"—engages with the material world in a way that is unpredictable and often uncontrolled.

In "Cities, Plains and People: 6," Durrell meditates on the complexities of consciousness and the human condition, particularly as they are influenced by the external world and the passage of time. The poem reflects a tension between innocence and awareness, the simplicity of unreflective existence and the burden of introspection. Through the use of evocative imagery and a deeply reflective tone, Durrell invites readers to consider the nature of their own consciousness and the ways in which they engage with the world around them, particularly in moments of solitude and reflection. The poem captures the melancholic beauty of November, serving as a metaphor for the broader, often painful, process of coming to terms with life's impermanence and the inscrutable forces that shape our existence.

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