Classic and Contemporary Poetry: Explained

In "Pompeii," John Updike explores the eerie legacy of the ancient city that was buried under volcanic ash in AD 79. The poem delves into the dichotomy between the preservation of a moment of catastrophic destruction and the mundane, ongoing exploitation of its remnants. Updike uses vivid imagery and sharp contrasts to reflect on the human condition, cultural decay, and the perverse fascination with disaster.

The poem begins with a stark depiction of the Pompeiians' existence and sudden demise: "They lived, Pompeiians, / as installments of flesh in slots of stone; they died in postures preserved, / by a ghoulish casting process, in the dank museum here." Updike vividly portrays the citizens of Pompeii as if they were merely flesh encased within the confining architecture of their city, emphasizing their ultimate vulnerability. The description of their death, preserved in volcanic ash, evokes a sense of horror and fascination. The "ghoulish casting process" suggests both the horror of their deaths and the unsettling way in which these moments have been frozen in time, displayed for posterity in a "dank museum," where the tragedy is transformed into a spectacle.

This transformation continues outside the historical site, where "living Pompeiian men peddle antique pornography." This line juxtaposes the dead who are preserved and displayed against the living who exploit the city's notorious reputation for erotic art. It paints a picture of a community still entrenched in the commodification of its own past, suggesting a cycle of exploitation that transcends time.

The poem then reflects on the disaster itself: "One feels this place / was cursed before that noon in 79 when lunching gluttons found / their sturgeon mouths hot-stuffed with screaming ash." Updike imagines the citizens of Pompeii caught unaware, mid-meal, overtaken by the volcanic ash. The graphic description of "sturgeon mouths hot-stuffed with screaming ash" conveys both the sudden horror of the event and a grotesque interruption of daily life. The idea that the place was "cursed" before the eruption introduces a sense of inevitable doom and moral decay, which seems to pervade the atmosphere of Pompeii.

The poet's critique sharpens as he considers what has been preserved: "There's not much to admire but the fact / of preservation, and the plumbing." The preservation of the city is seen not as a testament to its cultural wealth but rather as a morbid curiosity. The mention of plumbing as a notable achievement underscores a mundane yet vital aspect of Roman engineering, contrasting it with the more sensational aspects of Pompeii's legacy.

In the final lines, Updike reflects on the lasting impact of Roman technology and culture: "The plumbing lingers / like a sour aftertaste-the loving conduits, / the phallic fountains, the three degrees, / so technically astute, of public bath. These Romans enslaved their liquids well; pornography became their monument." The enduring nature of Roman plumbing is described with a mix of admiration and distaste, metaphorically likened to a "sour aftertaste." This complexity extends to the city's social fabric, where the technological prowess that mastered water flow is paralleled by an enduring legacy of erotic art. The phrase "enslaved their liquids well" cleverly alludes to the control and manipulation of natural resources, while the conclusion that "pornography became their monument" critiques how modern perceptions can overshadow more substantial cultural achievements.

"Pompeii" by John Updike is a reflection on the interplay between cultural legacy and human tragedy, questioning what is remembered and what is valued. It portrays Pompeii not just as a site of archaeological significance but as a symbol of human fragility, moral ambiguity, and the complex layers of history and exploitation.

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