Classic and Contemporary Poetry: Explained

Lawrence Durrell's poem "La Rochefoucauld" delves into the complex inner life and philosophical musings of François de La Rochefoucauld, a French nobleman and writer known for his maxims and reflections on human nature. Durrell captures the essence of La Rochefoucauld’s penetrating insight into the motives and behaviors of people, while also exploring the limitations and consequences of such introspection. The poem is a meditation on the tension between intellect and emotion, the pursuit of understanding, and the profound sense of emptiness that can accompany a life dedicated to the dissection of others' inner lives.

The poem begins with an epigraph in French: "Nous arrivons tout nouveaux aux divers ages de la vie" ("We arrive new at each stage of life"). This quotation suggests that with each phase of life, we encounter experiences and challenges as though for the first time, despite our accumulated knowledge. This idea frames the poem’s exploration of La Rochefoucauld’s journey through life, marked by his relentless analysis of human motives and emotions.

Durrell then shifts to a conversational tone with the line "A penny for your thoughts. I wasn't joking," which invites the reader into La Rochefoucauld’s reflective world. The poet reveals that much of La Rochefoucauld’s understanding of human nature was gleaned from "serving-girls" and others who were "unaware" or "mindless as birds." This suggests that La Rochefoucauld’s observations were often made on those who were vulnerable, unguarded, or perhaps less sophisticated, making it easier for him to uncover their true motives and fears.

The line "Kisses can be probes. Mine always were" highlights La Rochefoucauld’s analytical approach to relationships, where even acts of intimacy are used as tools for investigation rather than genuine expressions of affection. This reinforces the idea that La Rochefoucauld saw himself as a detective of the heart, dissecting and analyzing the "betraying Motive" behind human actions. He describes his work as the "first detective-story of the heart," where he played all roles—judge, jury, and victim—through the "clear notation of the mind."

As the poem progresses, Durrell reveals the introspective side of La Rochefoucauld, acknowledging that "I was my own motive." This self-awareness is tinged with irony, as La Rochefoucauld recognizes that his pursuit of understanding others was driven by his own need to control and comprehend his world. Yet, there is a sense of dissatisfaction as he admits that he never fully explored or expressed the deeper, more vulnerable parts of himself—those parts that were "hungry / To confess me, to reveal the famished note." Despite his intellectual mastery, he remained emotionally guarded, unable to satisfy the deeper desires within him.

The poem then touches on La Rochefoucauld’s struggle with appetite, both physical and emotional. He speaks of mastering "appetite" through reason and understanding the "politics of feeling" as a complex landscape where sin and desire roam freely. However, even as he navigates these "dense / Groves," he finds that his self-portrait always feels incomplete—"somehow faked, or somehow still in need / Of gender, form and present tense." This line suggests that despite his deep understanding of others, La Rochefoucauld was unable to fully integrate his insights into a coherent, authentic sense of self.

Durrell portrays La Rochefoucauld as a man who, despite his brilliance, was ultimately unable to break through the "wall" of his own detachment. He speaks of the "bait of feeling" that was "left untasted," implying that while he understood emotions intellectually, he never truly allowed himself to experience them fully. The ruins of "desires / To give, to trust, to be my subjects' equal" lie "wasted" within him, indicating a profound sense of loss and unfulfilled potential.

The poem concludes with a reflection on love, or the lack thereof. La Rochefoucauld admits that "love is not the word I want / Yet it will have to do," indicating that while love is the closest approximation for what he feels, it is still inadequate. The "great Lack" that grew within him speaks to the emptiness that can result from a life spent analyzing rather than living. He confesses that of the "Real Darkness"—the deep, essential experiences of life—he "lifted not one grain." This final admission underscores the tragedy of La Rochefoucauld’s life: despite his intellectual accomplishments, he was unable to fully engage with the most fundamental aspects of human existence.

Durrell ends with the haunting image of the "whole story" of La Rochefoucauld’s life being like "the part / Of some great man's body," where veins, organs, and nerves are laid bare, yet this dissection illustrates "neither death nor art." This suggests that while La Rochefoucauld’s life was marked by profound insight and reflection, it ultimately lacked the wholeness and emotional depth that give life its true meaning.

In "La Rochefoucauld," Durrell paints a complex portrait of a man who mastered the art of understanding others but was ultimately undone by his inability to apply the same understanding to himself. The poem explores the limits of intellect, the emptiness of detachment, and the unfulfilled longing for a deeper, more authentic connection with life and love.

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