Classic and Contemporary Poetry: Explained

In "Cities, Plains and People: 7," Lawrence Durrell reflects on the complex interplay of love, time, and the lingering presence of past experiences. Set against the evocative backdrop of Buda, the poem explores themes of surrender, abandonment, and the cyclical nature of love, using vivid imagery and a tone that is both nostalgic and resigned.

The poem begins with the phrase "By the waters of Buda," immediately anchoring the scene in a specific place known for its historical and romantic connotations. Buda, part of modern-day Budapest, serves as a symbolic setting where the characters "surrendered arms, hearts, hands." This line suggests a moment of complete vulnerability and openness, where the physical and emotional defenses are let down in the face of love or intimacy. The enumeration of "Lips for counting of kisses, / Fingers for money or touch, / Eyes for the hourglass sands" connects the different senses and actions with the passage of time, love, and material exchange. The imagery of "hourglass sands" subtly introduces the theme of time slipping away, reminding the reader of the transitory nature of these moments.

Durrell continues with "Uncut and unloosened / Swift hair by the waters of Buda," portraying a scene of unrestrained passion or natural beauty, where the "swift hair" remains untamed, symbolizing freedom and perhaps a sense of abandon. The setting shifts to "shabby balcony rooms," a place that, despite its dilapidation, becomes a site of awakening and wonder as "the pulses waken and wonder." The juxtaposition of the "shabby" environment with the heightened emotional states of the characters emphasizes the contrast between the external and internal worlds.

The poem's reference to "The churches bluff one as heart-beats / On the river their dull boom booms" evokes the persistent, almost monotonous rhythm of life and love. The "churches" symbolize institutions or structures that seem to offer guidance or stability, yet they "bluff," perhaps suggesting that these promises are illusory or unfulfilled. The "dull boom booms" of the river reinforce the idea of a continuous, unending flow—an echo of life's relentless progression and the constancy of time.

As the poem moves towards its conclusion, Durrell advises, "Uncomb and unlock then, / Abandon and nevermore cherish / Queer lips, queer heart, hands." This call to "abandon" and "nevermore cherish" signals a turning point, where the speaker urges the release of past attachments and the acceptance of impermanence. The word "queer" here can be interpreted as strange or unusual, indicating that the love or emotions in question may have been unconventional or difficult to sustain.

The final lines of the poem introduce a poignant reflection on the cyclical nature of love and life: "There to futurity leave / The luckier lover who's waiting, / As, like a spring coiled up, / In the bones of Adam, lay Eve." This imagery of a "spring coiled up" within Adam suggests potential energy, a latent force ready to be released—paralleling the idea that love and life are always waiting to be awakened or renewed, just as Eve was created from Adam's rib. The reference to Adam and Eve underscores the timelessness of the cycle of love, creation, and loss, suggesting that these experiences are fundamental to the human condition.

In "Cities, Plains and People: 7," Durrell captures the fleeting nature of love and the inevitable passage of time through a series of vivid, emotionally charged images. The poem’s tone is one of acceptance, as it acknowledges the beauty and intensity of past experiences while recognizing the need to move forward and leave certain things behind. By situating the narrative in Buda and invoking both historical and mythological references, Durrell weaves a rich tapestry that explores the tension between holding on to cherished memories and the necessity of letting go, ultimately reflecting on the enduring cycles of human experience.

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