Classic and Contemporary Poetry: Explained

Lawrence Durrell’s poem "External Contemporaries, Six Portraits: Basil the Hermit" explores the themes of isolation, religious doubt, and the intense internal struggles that accompany a life of asceticism and self-denial. Through the figure of Basil, a hermit who has withdrawn from the world to live a life of severe simplicity and introspection, Durrell delves into the psychological and spiritual tensions that define a life dedicated to rejecting the material and societal norms in favor of a purer, albeit more torturous, existence.

The poem begins by contrasting Basil’s chosen life with the decadent and corrupt practices of the "dynasts" on Patmos. These figures, "banished from the old roof-tree Patmos," are depicted as engaging in hypocritical rituals, "gathering honey" and "skimming the fat of towns with levy-money." The imagery of "dancing bears" and "smoking rituals" suggests a mockery of genuine spiritual practice, where material greed and superficial acts replace true devotion or belief. These rulers are indifferent to whether "God or Paradise exist," focusing instead on amassing "estates in providence" while greed "crouched in each hairy fist." This depiction of the dynasts serves as a sharp critique of religious and political leaders who exploit their power for personal gain, neglecting the spiritual responsibilities they ostensibly uphold.

In contrast to these corrupt figures, Basil is described as "the troubled flower of scepticism." The metaphor of a "troubled flower" suggests a delicate, sensitive nature that has been marred by doubt and inner conflict. Basil’s skepticism leads him to reject the world of the dynasts, choosing instead a life of extreme austerity. He adopts a "pelt" and a "cairn of chilly stone"—symbols of his rejection of comfort and luxury. His choice to become "the author of a famous schism" further emphasizes his break from the established religious order, marking him as a figure of dissent who questions the prevailing beliefs and practices.

Basil’s possessions are minimal: "A wick for oil, a knife, a broken stool / Were all, this side of hell, he dared to own." This sparse list of belongings reflects his commitment to a life stripped of material excess, but also hints at the harshness of his existence. His twenty years "in Jesus went to school" suggest a long, arduous period of spiritual learning and discipline, but one that is fraught with difficulty and doubt.

The poem then shifts to describe Basil’s experience of observing the world from his isolated position. He "often, looking up, saw them there / As from some prism-stained pool," suggesting that his view of the world is distorted or filtered through his inner turmoil. The "dark dots like birds along the battlements" evoke a sense of distance and detachment, as Basil watches the world from afar, unable or unwilling to engage with it. The "old rooks swayed in a rotten tree" symbolize decay and the passage of time, reinforcing the sense of Basil’s isolation and the desolation of his surroundings.

Although Basil "felt kindly to them all," he "did not dare to pray." This admission highlights the depth of Basil’s spiritual crisis. Despite his apparent piety and dedication, Basil is plagued by a profound sense of unworthiness that prevents him from engaging in even the most basic religious acts, such as prayer. His "inner prohibitions" are described as "a sea / On which he floated spellbound day by day," suggesting that he is trapped in a state of paralysis, unable to move forward in his spiritual journey.

The poem’s conclusion underscores the intensity of Basil’s inner torment. The "world and its fevers howled outside," representing the external temptations and distractions that Basil has sought to escape. However, within his self-imposed isolation, he is not free from suffering. Instead, he is beset by "The Omen and the Fret that hemmed him in," which symbolize the psychological and spiritual anxieties that consume him. The "sense of his complete unworthiness" is described as pressing "each year slowly tighter like a tourniquet," a powerful image that conveys the gradual, relentless tightening of his internal struggles, as if his own mind is slowly constricting his ability to find peace or redemption.

In "Basil the Hermit," Durrell presents a complex portrait of a man who has chosen a life of spiritual discipline and withdrawal but is haunted by doubt and a crippling sense of inadequacy. The poem explores the tension between the desire for spiritual purity and the inevitable human frailties that make such a pursuit fraught with difficulty. Through Basil, Durrell delves into the darker aspects of asceticism, showing that the path to spiritual enlightenment is not only lonely and austere but also filled with internal battles that can become as oppressive as the worldly temptations the hermit seeks to avoid. The poem is a meditation on the cost of spiritual rigor and the existential weight of living a life dedicated to the pursuit of an ideal that may ultimately be unattainable.

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