Classic and Contemporary Poetry: Explained

Muriel Rukeyser's poem "Mountain: One from Bryant" is a dense and intricate meditation on nature, human existence, and the interplay between the physical and the spiritual realms. Drawing inspiration from the transcendental themes of William Cullen Bryant, the poem employs vivid imagery and complex metaphors to explore the grandeur of mountains and the deeper meanings they embody.

The poem begins with the image of wildflowers withering: "Wildflowers withering with the same death. / Grave a slope, threw she long shadows," suggesting the inevitable decay and mortality that pervades even the most beautiful aspects of nature. The "long shadows" cast by the grave on the slope evoke a sense of time passing and the persistent presence of death in the landscape.

Rukeyser's depiction of mountains as "o’erlooking earth, affect and places / High" presents them as majestic and powerful entities that watch over the earth. This grandeur is linked to spiritual worship: "On God that time, the elder worshipper, / Deemed spirit, made here a tribe of offering," indicating that mountains have long been seen as sacred spaces where humans offer reverence to the divine.

The poem then shifts to a more personal reflection: "Mother, my dreams, night and / Mockings like friends, pastimes hate I / And business accursed upon me glares;" Here, the speaker acknowledges the dualities of life—dreams and mockings, pastimes and hatred, the burden of daily business—suggesting a deep internal struggle. The phrase "The life of the sick is sorrow, guilt, and love" underscores the profound emotional complexities faced by those who are unwell.

In a striking turn, the poem presents a vision of simplicity and might: "Eye her then, vain in might, simple as heart. / Heaven props earth with columns; mountains raise / Distances, blue in hills, upward swell fields." The juxtaposition of "vain in might" and "simple as heart" reflects the dual nature of mountains as both formidable and pure. The imagery of heaven propping earth with columns and mountains raising distances captures the sublime architecture of the natural world.

The poem delves into the human condition with the line: "Man has ages for soil, mining himself / To paradise." This metaphor suggests that humanity's quest for paradise involves a deep and continuous exploration of oneself and the world. The scene described as murmuring and struggling with winds, with depth dizzying the ear and a "thunderbolt of whiteness," evokes the tumultuous and awe-inspiring forces of nature.

Rukeyser contrasts growth and decay with "Centuries of growth, darkness of capitals, / Pinnacles and trees shaggy and wild." This line highlights the ancient and enduring nature of mountains, juxtaposed with the often-dark history of human civilization. The call to "North to the drowned! and nations separate the world" suggests a journey towards the unknown and the divisions created by human societies.

The poem reaches a crescendo with the powerful imagery of the eagle and the torrent solitude: "Shriek eagle in your torrent solitude. / Glens of secret, down into forest-tops, / Beneath a wide-spread earth; majesty and beauty / Fail." The eagle's shriek and the secret glens represent the untamed and mysterious aspects of nature that lie beyond human understanding and control.

In the final lines, Rukeyser exhorts the reader to face nature: "Foot mountains. Though rocky our ascent, / Face nature in harmony, lovely, and face it! wild." The climb may be arduous, but the call is to engage with nature in both its harmonious and wild states, embracing the challenges and beauty it presents.

"Mountain: One from Bryant" is a rich tapestry of imagery and reflection, drawing on the transcendentalist tradition to explore the profound connections between nature, humanity, and the divine. Rukeyser's masterful use of language and metaphor invites readers to contemplate their place within the vast and enduring landscape of the natural world, finding meaning in both its beauty and its brutality.

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