Classic and Contemporary Poetry: Explained

Louis Simpson's poem "New Lines for Cuscuscaraway and Miza Murad Ali Beg" is a satirical and reflective piece that grapples with themes of modernity, exclusion, and the search for meaning in a sophisticated, perhaps detached, world. The poem is imbued with irony, as it examines the notion of being "cheerfully dry" and sophisticated—a tone and outlook that reflects a certain disillusionment with both religion and the cultural milieu of the time.

The epigraph, quoting T.E. Hulme, sets the stage for a poem that will be "cheerful, dry and sophisticated." This suggests a kind of modernist approach to poetry—one that is emotionally restrained, intellectually sharp, and somewhat detached from the passionate, Romantic ideals that preceded modernism. This framework allows Simpson to explore these qualities with a mixture of reverence and critique.

The poem opens with an exclamation: "O amiable prospect! / O kingdom of heaven on earth!" These lines mimic the grandiose, almost prophetic tone often associated with religious or spiritual declarations, but the tone is undercut by the following observations. The speaker sees "Mr. Eliot leaning over a fence / Like a cheerful embalmer," a striking image that juxtaposes the figure of T.S. Eliot—a key modernist poet known for his intellectual and often somber works—with the profession of an embalmer, someone who prepares bodies for burial. Describing Eliot as "cheerful" in this context is deeply ironic, suggesting a detachment or a kind of grim satisfaction in the process of preserving or managing decay.

The presence of "two little Indians with black umbrellas / Seeking admission" further adds to the poem's satirical tone. The black umbrellas could symbolize protection or defense against the elements, but their seeking "admission" implies an attempt to enter a space—perhaps the "kingdom of heaven on earth" mentioned earlier—that is guarded or exclusive. This imagery could be interpreted as a critique of cultural gatekeeping or the way in which certain groups are either included or excluded from modernist intellectual or social circles.

The speaker then shifts into a state of being "rapt in a song / Of sophistication." This line suggests a kind of self-awareness or even self-mockery, as the speaker acknowledges the allure of sophistication—a hallmark of modernist culture—but also hints at its limitations or artificiality. The repeated invocations of "O City of God!" and "Let us be thoroughly dry" reinforce this tone, blending religious language with the dry, detached style Hulme advocates.

The phrase "Let us sing a new song unto the Lord, / A song of exclusion" is particularly telling. It suggests that the new, sophisticated song is one that is not about inclusion or universal salvation, but rather about defining oneself by what one is not—by exclusion rather than inclusion. This reflects the modernist preoccupation with elitism, intellectual rigor, and the rejection of sentimentality or mass culture. The idea that "it is not so much a matter of being chosen / As of not being excluded" further underscores the theme of exclusivity, implying that belonging to this "kingdom of heaven on earth" is more about keeping others out than about any inherent worthiness.

The poem concludes with the speaker's resolution: "I will sing unto the Lord / In a voice that is cheerfully dry." This final line encapsulates the entire poem’s tone—one of ironic detachment, where even the act of singing to the Lord, an act traditionally associated with emotion and devotion, is done with a calculated dryness. The speaker embraces this modernist aesthetic, where cheerfulness and dryness coexist, and where sophistication is both a refuge and a barrier.

In "New Lines for Cuscuscaraway and Miza Murad Ali Beg," Louis Simpson uses irony and satire to explore the themes of modernist detachment, exclusivity, and the search for meaning in a world that often prioritizes intellectual sophistication over emotional or spiritual connection. The poem plays with the tension between the lofty ideals of religion and the cold, analytical approach of modernism, ultimately offering a critique of the ways in which we construct our identities and communities by defining who is in and who is out. Through its sharp imagery and ironic tone, the poem invites readers to reflect on the nature of sophistication, exclusion, and the complexities of modern life.

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