Classic and Contemporary Poetry: Explained

Lawrence Durrell’s poem "Conon in Alexandria" is a reflective exploration of the inner life of Conon, a character who finds himself in the ancient city of Alexandria, grappling with solitude, intellectual pursuits, and the weight of memory. The poem, divided into two parts, delves into themes of exile, introspection, the passage of time, and the complex interplay between thought and emotion. Durrell uses rich imagery and philosophical musings to paint a portrait of a man who is both deeply connected to his surroundings and profoundly alienated from them.

The first part of the poem opens with a description of Alexandria as an "Ash-heap of four cultures," a city layered with the remnants of various civilizations. The imagery of "Mareotis, a salt lake," and the "winter rain" that "stiffens like eyes" sets a tone of coldness and desolation, reflecting Conon’s own sense of being trapped in a place where time and memory weigh heavily. Conon describes himself as having been "four years bound here," a period marked by introspection and a sense of isolation. He refers to his time in Alexandria as "a time for sentences by the tripod," evoking the ancient practice of divination, where prophecies are made by those who are "born dead" or "lost their character but kept their taste." This suggests that Conon is surrounded by people who are spiritually or emotionally dead, yet still retain a veneer of culture and refinement.

Conon’s sense of solitude is further emphasized by his description of himself as a "solitary presumed quite happy," writing "interminable whining letters" on "long beaches dimpled by the rain." The act of writing these letters seems both futile and necessary, a way of maintaining some connection to the outside world, even as he is aware of their futility. The mention of the "island wind / Blown against wet lips and shutters out of Rhodes" introduces a sense of longing and nostalgia, as Conon recalls a place far from his current situation. He acknowledges that he "would not have it otherwise," suggesting a resigned acceptance of his circumstances, even as he questions the nature of his own contentment.

The poem then shifts to a more introspective tone, as Conon reflects on the "nightly visitations / Of islands in one's sleep" and wonders when they will end. The "Pharos," the ancient lighthouse of Alexandria, becomes a symbol of guidance and hope, yet also a reminder of Conon’s isolation. He describes himself as "the more attentive, the more exacting," a man who is hyper-aware of his surroundings and his own thoughts, yet unable to find peace. The familiar objects around him—"The familiar papers on a table by the bed, / The plate of olives and the glass of wine"—are comforting yet insufficient to dispel his restlessness. He acknowledges that his "thoughts so long rehearsed" have become like "the dry friction of ropes in the mind," leading him back to memories of Greece, where "The almond-candles and the statues burn." These images of Greece evoke a sense of lost beauty and passion, contrasting with the cold, intellectual atmosphere of Alexandria.

The moon’s "cold seething fires" over the city represent the persistence of memory and longing, which have remained with Conon through "four Februaries." The stars, described as "points of dew in a universe too large," symbolize the overwhelming and indifferent nature of the cosmos, leaving Conon feeling small and insignificant. The phrase "heavy with dispersal" suggests that these celestial bodies are on the verge of scattering, mirroring Conon’s own fragmented thoughts and emotions.

In the second part of the poem, Conon reflects on the arrival of spring, which "compels these separations" and "will but define you further as she dies." Spring, traditionally a symbol of renewal, here becomes a force that highlights the divisions and losses in Conon’s life. The mention of "flowers downless and pure as Portia's cheek" suggests a delicate beauty that is ultimately ephemeral. Conon imagines these flowers interrupting the "conversations of friends / On terraces where the fountains plane at time," implying that even in moments of beauty and connection, there is an underlying awareness of time’s passage and the inevitability of loss.

The poem then turns to a more personal reflection, as Conon contemplates the "small acid precipitate to memory" left by these partings. He acknowledges that "partings like these are lucky. At least they wound," suggesting that even painful separations are preferable to the numbness of unfeeling. He further reflects on the desert, a symbol of exile, noting that its "immensity only confines one further," as its vastness forces one to confront the limitations of the self.

The imagery of "a gown stained at the arm-pits by a woman's body" and "a letter unfinished because the ink gave out" captures the physical and emotional remnants of past relationships, emphasizing the incompleteness and impermanence of human connections. Conon’s description of lovers as "separating each other / Further with every kiss" highlights the paradoxical nature of intimacy, where attempts at closeness can sometimes lead to greater distance.

The poem concludes with a reflection on the nature of art and freedom. Conon describes a man "engaged in bitterly waiting / For the day when art should become unnecessary," suggesting a longing for a state of being where art is no longer needed as a means of expression or escape. The final lines, where Conon reads in a letter that "Music is only love, looking for words," encapsulate the central tension of the poem: the struggle to find meaning and connection in a world where both are elusive.

"Conon in Alexandria" is a deeply introspective and philosophical poem that explores themes of exile, memory, and the complexities of human relationships. Through rich and evocative imagery, Durrell creates a portrait of a man who is profoundly aware of his own isolation and the limitations of his intellectual pursuits, yet who continues to search for meaning in the face of these challenges. The poem captures the essence of Alexandria as a city of history and decay, a place where the past and present intersect, leaving the inhabitants caught in a perpetual state of longing and introspection.

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