Classic and Contemporary Poetry: Explained

Wallace Stevens’ "Two Versions of the Same Poem, That Which Cannot Be Fixed: 2" presents a meditation on the intersection of the human experience and elemental forces, blending philosophical inquiry with striking imagery of natural and existential rhythms. The poem explores the tension between the immutable and the mutable, between earth’s solidity and the ocean’s perpetual motion, and between the yearning for understanding and the acceptance of mystery.

The poem opens with the "human ocean" beating against the "rock of earth," a vivid metaphor that encapsulates the ceaseless struggle of humanity to reconcile itself with the physical and metaphysical realities of existence. This image suggests both the constancy of natural forces and their overwhelming, almost indifferent power. The ocean?s rhythm—"rises against it, tide by tide, continually"—parallels the human quest for meaning, marked by cyclical attempts to transcend the barriers of understanding.

The introduction of "old John Zeller," standing on a hill and observing this interplay, adds a personal and reflective dimension to the scene. Zeller becomes an archetype of the contemplative observer, a figure embodying the human desire to interpret and find coherence within the chaos of the natural world. His question—"Of what are these the creatures, what element / Or—yes: what elements, unreconciled"—frames the central concern of the poem: the fragmentation and irreconcilability of existence. The pluralization of "elements" underscores the complexity of the forces at play, suggesting a world of discordant components that resist synthesis into a unified whole.

The "golden solvent," a phrase evoking alchemical transformation, represents an unattainable ideal: a means to reconcile the disparate elements of existence into a harmonious unity. Its absence emphasizes the difficulty, if not impossibility, of resolving the contradictions inherent in life. This unattainability parallels the theme introduced in the first version of the poem, where the "possible shapes" of being could not be fixed or fully realized.

Stevens delves deeper into the tension between singularity and multiplicity: "If they were creatures of the sea alone, / But singular, they would, like water, scale / The uptopping top and tip of things." Here, the sea?s fluidity symbolizes adaptability and transcendence, but this idealized vision is complicated by the introduction of multiplicity—creatures of "sea, earth, sky" and the unresolved interplay of "water / And fire and air." This elemental fragmentation reflects the fractured nature of human experience, in which no singular perspective or identity can encapsulate the entirety of existence.

The phrase "an ocean of watery images / And shapes of fire, and wind that bears them down" suggests a world of transient forms and forces, a dynamic interplay where permanence is elusive. These forms, described as "seeking to escape / Cadaverous undulations," seem to strive for liberation from the cyclical decay and renewal that defines existence. The word "cadaverous" evokes death and decay, reinforcing the poem?s preoccupation with impermanence and the inevitability of dissolution.

The closing line, "Rest, old mould," juxtaposes resignation with the inevitability of transformation. The "mould" suggests both the physical earth and the concept of form or structure, acknowledging the transitory nature of all things while hinting at the possibility of renewal. This duality captures the essence of Stevens’ vision: the acceptance of life?s ephemeral nature does not preclude the beauty and meaning found in its fleeting moments.

In "That Which Cannot Be Fixed: 2," Stevens crafts a richly layered reflection on the human condition, rooted in elemental imagery and philosophical inquiry. The poem resists offering definitive answers, instead embracing the complexity and ambiguity of existence. Through its interplay of natural and human metaphors, it invites readers to contemplate their place within a world of perpetual flux, where meaning is both elusive and ever-present. The "human ocean" remains unceasing, a testament to the enduring human spirit and its quest to navigate the shifting tides of reality.

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