Classic and Contemporary Poetry: Explained

Wallace Stevens’ "Owl in the Sarcophagus" is a dense, metaphysical exploration of death, memory, and transcendence, rendered in his characteristically intricate and symbolic language. The poem unfolds as a meditation on death’s multifaceted nature, blending classical imagery with modern existential concerns to probe the human confrontation with mortality and the metaphysical landscapes it evokes.

The poem’s title suggests an amalgamation of symbols. The owl, traditionally associated with wisdom and the nocturnal, becomes a fitting guide in the poem’s journey through the metaphysical dark. The sarcophagus signifies death and the entombment of the physical body, juxtaposed with the owl’s association with spiritual vigilance, thus hinting at an ongoing dialogue between death and understanding.

In the opening section, Stevens introduces three figures personifying death and its associated states—"high sleep," "high peace," and a third form that "speaks quietly" to the departed. These figures are "visible to the eye that needs," emphasizing the human compulsion to render death comprehensible. The speaker situates these forms in an "element not the heaviness of time," suggesting a metaphysical realm where time and materiality dissolve, leaving a space where "reality is prodigy." This realm, governed by the "mother of us all," presents death as both a universal and intimate experience, bridging life and the afterlife.

The second section shifts to the perspective of a living man encountering these forms. This figure experiences a transformation as he perceives the eternal and sublime nature of death, described as "less time than place, less place than thought of place." Here, death is depicted not as annihilation but as an entrance into a realm of profound realization, marked by "a dazzle of remembrance and of sight." Stevens reframes death as an intellectual and emotional awakening, where the boundaries of life dissolve into a "perennial" harmony.

In the third section, Stevens deepens the exploration of death through the imagery of "foldings in the height of sleep." The "whiteness" of sleep, characterized as "the ultimate intellect," becomes a metaphor for transcendence, an elevation beyond human limitations. The poem’s language, marked by phrases like "a diamond jubilance beyond the fire," evokes the numinous, suggesting that death possesses an inherent luminosity and clarity. The depiction of sleep as a "calmest unity" reflects an ideal state where opposites reconcile, aligning with Stevens’ frequent poetic themes of unity and balance.

The fourth section focuses on peace, personified as an "immaculate personage in nothingness." This figure, described with cryptic beauty, represents the ultimate reconciliation that death offers. Peace is "adorned with cryptic stones and sliding shines," evoking both opulence and enigma. The imagery of "damasked in the originals of green" ties this peace to nature, reinforcing the cyclical and restorative dimensions of death. Stevens underscores the transformative power of death, portraying it as both an end and a renewal.

The fifth section shifts to the figure of a woman, who embodies the knowledge and transition associated with death. She is described as "an influence felt instead of seen," a subtle yet powerful force guiding the deceased. Her backward gestures and "sad splendor" suggest both farewell and continuity, aligning her with the classical archetype of a psychopomp—a guide of souls. Her actions and presence emphasize transformation, as "what was has ceased to be what is." Stevens imbues her with a quiet but profound authority, framing her as an intermediary between life and death.

In the final section, Stevens culminates the meditation by framing these figures and images as "the mythology of modern death." This phrase encapsulates the poem’s essence: a contemporary reimagining of death, not as an abstract negation but as a generative space for understanding and creation. Stevens refers to these figures as "monsters of elegy," highlighting the tension between their awe-inspiring and consolatory qualities. They are "death?s own supremest images," born of the human mind’s attempt to reconcile with mortality. The poem closes on a reflective note, suggesting that these images are "the floreate flare"—creations that illuminate the darkness of death, transforming it into an act of the mind’s imagination.

"Owl in the Sarcophagus" exemplifies Stevens’ ability to interweave philosophical inquiry with evocative imagery, crafting a meditation that is both intellectual and emotive. By personifying death and its states, Stevens renders the abstract tangible, inviting readers to reconsider their perceptions of mortality. The poem’s intricate layers and shifting perspectives echo the complexity of death itself, asserting its role as a central force in shaping human consciousness and creativity.

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