Classic and Contemporary Poetry: Explained

Allen Ginsberg's "Last Night in Calcutta" is a haunting meditation on existential despair, physical decay, and the elusive nature of peace. The poem vividly captures a night in Calcutta, infused with the weight of time, the stillness of the night, and the omnipresent sense of mortality.

The opening lines establish a sense of stillness and timelessness: "Still night. The old clock / Ticks, half past two. / A ringing of crickets awake in the ceiling." The repetitive sound of the clock and the ceaseless chirping of crickets evoke a feeling of being suspended in time, accentuating the quiet yet oppressive atmosphere of the night. The "locked gate" and "sleepers, mustaches, nakedness" paint a picture of a world at rest, yet the poet is awake, detached, and filled with unease.

Ginsberg describes the physical discomforts of the night—the "few mosquitoes waken the itch," the slow-turning fan, and the intermittent sounds of a "car thunders along the black asphalt" and a "bull snorts." These sensory details ground the poem in the gritty reality of Calcutta, emphasizing the contrast between the external stillness and the internal turmoil.

The line "Time sits solid in the four yellow walls" personifies time, giving it a tangible presence that confines the poet. The mention of literary giants—Pushkin, Shakespeare, Blake—adds a layer of intellectual and spiritual longing. However, the invocation of the "Spirit of Poetry" feels futile in this setting, where even the solace of literature seems insufficient: "no use calling on you babbling in this emptiness."

Ginsberg's self-reflection deepens as he contemplates the physicality of his existence: "what to do with this big toe, this arm this eye in the starving skeleton-filled sore horse tramcar-heated Calcutta in Eternity." The enumeration of body parts underscores his feeling of being trapped in his own decaying body, further heightened by the oppressive environment of Calcutta.

The reference to Rilke introduces a contrast between the romanticized suffering of the poet and the stark reality Ginsberg faces: "Rilke at least could dream about lovers, the old breast excitement and trembling belly, is that it?" This line suggests a yearning for the passionate, idealized suffering of other poets, which seems unattainable in his current state.

Ginsberg reflects on the transient nature of existence and the inevitability of decay: "But now the great crash of buildings and planets breaks thru the walls of language and drowns me under its Ganges heaviness forever." This cosmic imagery juxtaposes the personal with the universal, illustrating how individual suffering is both insignificant and inescapable within the grand scheme of things.

The poem concludes with a resigned acceptance of mortality: "Leave immortality for another to suffer like a fool, not get stuck in the corner of the universe sticking morphine in the arm and eating meat." Ginsberg rejects the notion of immortality, seeing it as another form of suffering. The imagery of "sticking morphine in the arm and eating meat" signifies the numbing and sustenance that keep one anchored to a painful existence.

"Last Night in Calcutta" is a poignant exploration of the human condition, capturing the poet's struggle with the physical and existential burdens of life. Through vivid descriptions and introspective musings, Ginsberg conveys a profound sense of despair, highlighting the tension between the desire for transcendence and the inescapable reality of mortality.

 
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