Classic and Contemporary Poetry: Explained

"On Mirrors" by Lawrence Durrell explores the multifaceted symbolism of mirrors, delving into themes of memory, loss, time, and reflection. The poem opens with the line "You gone, the mirrors all reverted," immediately suggesting that the departure of a significant other has caused the mirrors—symbolic of reflection and self-awareness—to lose their purpose. The mirrors, no longer serving their function of reflecting the present, are described as "banging in the empty house," which evokes a sense of abandonment and disruption.

The imagery of the mirrors "redoubling their efforts to impede / Waterlogged images of faces pleading" suggests that these objects, once clear and reflective, have become obstructed and burdened by the weight of memory and emotion. The faces that appear in the mirrors are "pleading," indicating a sense of desperation or longing, perhaps for the person who has departed or for a lost past.

Durrell then introduces the figure of Fortunatus, a character from European folklore who possessed a magical mirror. The breaking of this mirror is said to have "imperilled his reason," implying that the loss of the ability to see oneself or to reflect on one's life can lead to madness or a profound disorientation. The "sleepers in their dormitory of glass" refer to those who are caught in a state of suspended animation, metaphorically trapped within the mirrors, stirring "once and sighed but never woke." This line suggests that the people or memories reflected in the mirrors are not fully alive, existing only as faint echoes of their former selves.

The poem continues with a reflection on time, which is described as being "amputated" and unable to "bleed no more." This vivid metaphor conveys the idea that time has been severed from its usual flow, becoming stagnant and mechanical, "flowing like refuse now in clocks." The clocks, located in clinical, sterile environments such as "clinic walls, in libraries and barracks," are no longer instruments for measuring life and activity, but tools for "killing" time, for marking the passage of hours with no real purpose.

Yet, even in this desolate imagery, the mirrors possess a transformative quality. They "drink like ponds," suggesting that they can still absorb and reflect, much like water. The mention of "Once they resumed the childhood of love" evokes a return to a more innocent, untainted state, where love and reflection were pure and uncomplicated. However, this is quickly followed by a more ominous image of the mirrors "overflowing, spreading, swallowing / Like water light," which can be interpreted as the mirrors consuming and distorting what they reflect, showing only "one averted face."

The final stanza of the poem offers a glimpse into a more serene and eternal scene, where a "man and woman lying sun-bemused / In a blue vineyard by the Latin sea" are "steeped in each other's minds and breathing there / Like wicks inhaling deep in golden oil." This image of the couple, deeply connected and immersed in their thoughts and surroundings, contrasts sharply with the earlier desolation of the mirrors. It suggests that true connection and reflection, whether between people or within oneself, can transcend time and the distortions of memory, creating a space of peace and unity.

"On Mirrors" thus meditates on the dual nature of mirrors as both reflectors of reality and distorting lenses. Through the metaphor of mirrors, Durrell explores the fragility of memory, the passage of time, and the enduring power of love and connection, even in the face of loss and fragmentation. The poem ultimately suggests that while mirrors may capture fleeting images and moments, they also hold the potential to reflect deeper, more enduring truths, especially when connected to love and shared experience.

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