Classic and Contemporary Poetry: Explained

"Bosworth Field" by Robert Lowell reflects on the historical figure of Richard III, the last Plantagenet king of England, famously defeated at the Battle of Bosworth Field by Henry Tudor, who became King Henry VII. This decisive battle marked the end of the Wars of the Roses and the beginning of the Tudor dynasty in England. The poem delves into themes of historical legacy, the nature of power, and the complex relationship between historical figures and their portrayals by posterity.

The poem begins with a vivid image of rain streaming through "dry garden stones," creating a clear flow devoid of life, metaphorically suggesting a cleansing or revelation. The absence of trout, creatures often associated with purity and vitality in clear waters, underscores a sense of barrenness or absence of innocence. This imagery sets the tone for a meditation on the consequences of actions and the stark realities of power.

Lowell draws a parallel between Richard III and other historical figures known for their ruthlessness, such as Robespierre and Stalin, noting that these leaders "mostly killed people they knew." This observation highlights the intimate and personal nature of their violence, contrasting with the often impersonal nature of mass killings or warfare. By invoking these figures, Lowell situates Richard III within a broader context of notorious leaders whose legacies are marked by betrayal and the pursuit of power at great human cost.

The poem refers to Richard III as "Dickon, Duke of Gloucester," using a colloquial nickname that suggests a more familiar and humanized view of the king. This contrasts with the traditional image of Richard III as a villain, as famously portrayed by Thomas More and William Shakespeare. The description "long arm of the realm, goddam blood royal" emphasizes Richard's role as an enforcer of royal authority and his deep entanglement in the violent and treacherous politics of his time. The phrase "terrible underpinning of what he let breathe" implies that Richard's reign was sustained by a foundation of fear and violence, shaping and controlling the lives around him.

Lowell reflects on the ongoing fascination with Richard III, noting that "we have dug him up past proof," referring both to the literal discovery of Richard's remains in Leicester in 2012 and the metaphorical unearthing of his historical character. The line "still fighting drunk on mortal wounds" captures the enduring controversy and passion that surround Richard's legacy, as well as the persistent attempts to reassess and reinterpret his life and actions. The phrase suggests that even in death, Richard is embroiled in the battle over his reputation, a "king" in the ongoing narrative constructed by history and literature.

The poem acknowledges the critical portrayals of Richard III by Thomas More and Shakespeare, who famously depicted him as a deformed and malevolent ruler. The mention of "pointing fingers at his polio'd body" refers to the physical deformities attributed to Richard, which have been used symbolically to represent his moral corruption. Despite these condemnations, Lowell suggests that Richard's perspective as "the king" prioritizes the experience of power and existence itself over moral judgment. The closing line, "it's better to have lived, than live," captures a nihilistic or existential sentiment, implying that the act of having lived—of having exercised power, regardless of its consequences—holds a certain primacy over the moral or ethical evaluation of that life.

"Bosworth Field" by Robert Lowell explores the complexities of historical memory and the enduring fascination with figures like Richard III. The poem contemplates the nature of power and legacy, acknowledging the moral ambiguities and the contested narratives that shape our understanding of historical figures. Through its rich imagery and allusions, the poem invites reflection on the interplay between history, literature, and the human experience of power and ambition.

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