Classic and Contemporary Poetry: Explained

Lawrence Durrell's poem "Conon in Exile" is a reflective meditation on love, memory, and the passage of time. The poem takes the form of a monologue by Conon, a character who seems to be an aging scholar or writer, now in exile on the island of Andros. Through a series of vignettes, Conon recounts his relationships with women, each representing different stages of his life and intellectual pursuits. These women, though real in their interactions with him, are ultimately portrayed as embodiments of his own ideas and aspirations, rather than as fully realized individuals. The poem is a rich exploration of the intersections between art, life, and the inevitable solitude that accompanies both.

The first section introduces the reader to Penelope, a figure steeped in classical mythology, known for her faithfulness and patience. However, in Conon's recollection, she is distant and almost indifferent, "hardly aware" of him, despite his efforts to impress her with his literary exercises. The image of Penelope letting down her hair over his work suggests a superficial connection, one where she is more preoccupied with her own admirers and a singer than with the author himself. This unreciprocated admiration is a poignant commentary on the disconnect between the artist's internal world and the external reality, where the artist's creations may captivate others, but the creator remains unseen and unrecognized.

In the second section, Conon speaks of Ariadne, another figure from Greek mythology, associated with the labyrinth and the Minotaur. Ariadne’s interaction with Conon is more intimate than Penelope’s; she "lay with my words and let me breathe / Upon her face." This intimacy, however, is fleeting and tragic. Ariadne "fell like a gull from the / Great ledge in Scio," her death stripping her of her humanity but failing to elevate her to divinity. The imagery here is potent, as her body, described as a "scented loaf," suggests a transformation into something almost sacrificial, no longer entirely human but not divine as hoped. Ariadne's fate underscores the theme of unfulfilled potential and the ultimate futility of seeking transcendence through relationships.

The third section introduces Ion, a character who, unlike Penelope and Ariadne, is depicted as a more vulnerable and ordinary woman. Conon recalls their love as an "experiment" that disturbed the natural order, symbolized by the swallows and wild bees, whose routines were disrupted by the couple's quarrels. Ion’s experience is marked by a profound sadness, captured in the haunting image of her body becoming "a huge tear about to drop from the eye of the world." This metaphor suggests an overwhelming sorrow, a sense of impending loss that permeates their relationship. Conon reflects on their failed marriage, acknowledging the absence of "nursery virtues," those fundamental qualities needed for a stable and nurturing relationship. This section is a poignant exploration of the disillusionment that can accompany love, where the idealized union fails to materialize, leaving only suffering in its wake.

In the fourth section, Conon reflects on his other relationships, which, though they brought him physical companionship, have faded from memory. He remembers "bodies, arms, faces" but has "forgotten their names," indicating a sense of detachment and the transient nature of these connections. The mention of "The Art of Marriage" and other philosophical treatises suggests that Conon sought to intellectualize his experiences, but this approach failed to provide lasting fulfillment or understanding.

Finally, in the fifth section, Conon finds himself in exile on Andros, an island in the Aegean Sea. He describes himself as "like a spider in a bottle," a metaphor for his isolation and entrapment within his own mind. Here, he continues to write "the immortal / Of Love and Death," but with the realization that the women he once knew were "only forms for my own ideas." This self-awareness is bittersweet, as Conon recognizes that his relationships were ultimately reflections of his own inner life, with the women serving as vessels for his thoughts and desires rather than as independent beings. The poem concludes with Conon accepting his solitude, lying "close to the Gods" as he contemplates the Aegean Sea, which "washes and pardons and brings us home." This final image suggests a sense of peace and resignation, as Conon comes to terms with his past and the inevitability of death, finding solace in the enduring beauty and forgiveness of the natural world.

"Conon in Exile" is a deeply introspective poem that explores the complex interplay between love, art, and memory. Durrell’s use of classical references and rich imagery creates a tapestry of interconnected themes, where the personal becomes universal and the individual experience is woven into the broader fabric of human existence. Through Conon’s reflections, the poem delves into the existential loneliness of the artist, the ephemeral nature of relationships, and the ultimate reconciliation with one’s self and the world.

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