Classic and Contemporary Poetry: Explained

May Swenson?s "Beginning Ended" is a richly imaginative and surreal exploration of endings, transitions, and the cyclical nature of existence. The poem evokes an otherworldly landscape where the boundaries between reality and the subconscious dissolve, allowing for an introspective journey into themes of mortality, transformation, and perception. Swenson’s use of vivid imagery and a dreamlike narrative challenges conventional notions of time and space, immersing the reader in an abstract, introspective experience.

The opening lines immediately place the reader in a paradoxical state: "Beginning ended, this is how the end begins." Swenson’s inversion of time and sequence suggests the cyclical nature of beginnings and endings, emphasizing their interdependence. By waking "in the other world," the poem situates the speaker—and the reader—within an unfamiliar realm where inner consciousness becomes the dominant reality. The "sky inside our eyelid" conveys an introspective vision, as though the external world has been replaced by the vastness of one’s own mind.

Swenson introduces a cascade of metaphoric imagery to illustrate this inward journey. The "sea?s volcanic vents" that "leach into the brain" evoke a sense of primal, elemental forces infiltrating the mind, merging the physical and the psychological. The description of "self?s jungle ajar" suggests that the inner self is a wild, untamed space, now opened or exposed for exploration. This metaphor of a "jungle" as the mind’s landscape hints at the complexity and richness of thought, as well as its potential for chaos.

The juxtaposition of natural imagery with artificial constructs deepens the poem’s surreal quality. A "waterfall" slicing through a mountain transforms into a placid lake, symbolizing the tension between dynamic change and stasis. Similarly, the surreal "Swancat" floating on a "red bedspread" introduces a whimsical, enigmatic figure that bridges the natural and the fantastic. This blending of opposites—fluid and solid, real and imagined—creates a liminal space where oppositions coexist, reflecting the duality of endings and beginnings.

The introduction of game imagery, with a "chessboard on an iceflow" and "yellow and blue balls" rolling over "squares shaved velvet green," injects a sense of playful order into the otherwise chaotic landscape. Chess, a game of strategy and consequence, mirrors the complexities of human existence, where choices lead to inexorable outcomes. The image of the King and Queen arriving with their retinue introduces a regal presence, perhaps symbolizing authority or inevitability in the grand scheme of life and death. These elements suggest that even within the disarray of the poem’s world, there is a structure or pattern governing the transition between beginnings and endings.

Swenson’s exploration of time becomes increasingly abstract as the poem progresses. "The day is perfect. There is only one. It lasts a thousand years." This paradoxical statement blurs the boundaries between finite and infinite, reinforcing the idea that time, as experienced in this otherworldly realm, is fluid and subjective. The metaphor of years as "thinnest pages in a book, vast as a continent" conveys the weight and significance of time, despite its ephemeral nature. The image of the book "sunk in sand" suggests an inevitability of loss or erosion, as time fades into memory or oblivion.

The transition to the poem’s conclusion is marked by a dramatic shift in tone and imagery. At "sunset," signaling the end of the day—and perhaps life—"the brain?s forest roars up into flame." This fiery image evokes destruction and renewal, a cleansing force that prepares the way for transformation. The "cool skull," described as a "moon released," suggests death as a release from the constraints of the body and mind. The moon, often associated with cycles and renewal, rolls "onto the marble table of night," symbolizing the continuation of existence in a new form, even as it "rolls over the edge" into the unknown.

"Beginning Ended" is a meditation on the fluidity of beginnings and endings, presenting them not as discrete moments but as interconnected and continuous. Swenson’s intricate imagery and surreal narrative invite readers to consider the transformative power of endings, which give rise to new possibilities and perspectives. The poem’s abstract, dreamlike quality allows it to resonate on multiple levels, offering a profound reflection on the nature of existence, memory, and the human experience.

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