Classic and Contemporary Poetry: Explained

In "Five Soliloquies Upon the Tomb of Uncebunke: 1," Lawrence Durrell delves into the themes of mortality, existential reflection, and the blurred boundaries between life, death, and the afterlife. The poem takes the form of a soliloquy, where the speaker—perhaps the spirit of General Uncebunke—meditates on the nature of existence and the futility of human striving in the face of death. The language is dense, filled with allusions to religious, philosophical, and literary traditions, which together create a haunting atmosphere that underscores the somber tone of the poem.

The opening line, "My uncle has entered his soliloquy," immediately positions the poem as a contemplative reflection, with Uncebunke now engaged in a solitary discourse, possibly with himself, God, or the universe. The phrase "under the black sigil" suggests that he is beneath a symbolic mark or sign associated with death or the occult, further setting the tone for a meditation on mortality.

Durrell plays with the famous line from Hamlet—"To be or not to be"—by reframing it as "To be or not to be at God's suggestion." This line questions the divine role in human existence, suggesting that life and death might be matters not solely of human decision but of divine influence or suggestion. The next line, "That is the question, to know or not to know," introduces an existential dilemma: the struggle between understanding and ignorance, and whether it is preferable to seek knowledge or remain in the dark.

The imagery in the following lines, such as "Smoke powder-blue and soft brass handles," creates a visual of a funeral or a solemn religious ritual. The mention of the "puma swoons among the silken candles" juxtaposes a wild, powerful animal with the delicate, sacred atmosphere of the candles, perhaps symbolizing the tension between primal instincts and the serene acceptance of death.

The invocation of "Elsinore," a reference to Hamlet's castle, and the phrase "my son, my son" echo the tragic tone of Shakespearean drama, reinforcing the poem's engagement with themes of fate, destiny, and the consequences of human actions. The "Tiger of the zenith, heifer of the red herd" could symbolize the duality of strength and sacrifice, with the tiger representing power and the heifer symbolizing innocence or purity.

Durrell continues to explore the relationship between life and death with the line "His fugue of flesh and ours in counterpoint, / Which moves, or seems to move." The term "fugue" suggests a complex, interwoven composition, where different elements of life and death interact in a continuous, sometimes discordant, pattern. The uncertainty of whether this movement is real or illusory reflects the poem's exploration of the ephemeral nature of existence.

The line "It is only God's breath in the nave, / Moving the cinquefoils" suggests that what we perceive as motion or life may simply be the result of divine influence, an almost mechanical process devoid of true agency. The "footwork / Of mongols, cretins, and mutes smelling of beer" introduces a more earthy, base element to the scene, contrasting with the elevated, spiritual imagery that precedes it.

The poem shifts into a darker tone with the invocation "He that hath ears to hear, let him hear," a biblical allusion that calls for attention and discernment. However, this is followed by commands that subvert traditional moral values: "Let him bear false witness, / Cough out the candles, covet his neighbour." These lines suggest a breakdown of moral order, where sacred principles are violated, reflecting perhaps the disillusionment and chaos that often accompany the contemplation of mortality.

The poem concludes with a reflection on the nature of existence and the journey through life and death. The lines "World without end means voyage beyond feeling. / Trek without turning spells voyage without meaning" suggest that an eternal, unchanging existence may lack significance, as it would be devoid of the emotional and experiential depth that gives life meaning. The final line, "Dying and praying are travel by kneeling," ties together the themes of mortality and spirituality, indicating that both death and prayer are forms of submission, journeys that involve surrendering to forces beyond human control.

In "Five Soliloquies Upon the Tomb of Uncebunke: 1," Durrell weaves a rich tapestry of existential and religious imagery, exploring the complex relationship between life, death, and the search for meaning. The poem's somber tone and dense, allusive language invite readers to reflect on the nature of existence and the ways in which we confront the inevitable reality of death. Through this soliloquy, Durrell not only pays homage to the literary tradition of Hamlet but also expands upon its themes, offering a deeply personal and philosophical meditation on the human condition.

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