Classic and Contemporary Poetry: Explained

David Wagoner’s “First Law of Motion” reflects on the human condition through the lens of Newtonian physics, juxtaposing the deterministic precision of natural laws with the unpredictable, imperfect realities of human experience. By employing Isaac Newton’s Principia Mathematica as a conceptual framework, Wagoner draws a metaphorical parallel between the physical laws governing bodies in motion and the emotional, psychological, and existential forces shaping human lives.

The epigraph, a direct quote from Newton, provides a structural and thematic anchor for the poem. Newton?s first law emphasizes the inertia of objects, whether at rest or in motion, and their tendency to maintain their state unless acted upon by an external force. Wagoner uses this principle as a springboard to explore the tensions between stability and change, control and disruption, and the inevitability of human vulnerability.

The poem opens with an exploration of uniformity: “Staying strictly in line and going / Along with a gag or swinging / Far out and back or simply wheeling / Into the home-stretch again and again.” These lines evoke the repetitive, almost mechanical nature of human routines and behaviors. The imagery of coasting, wheeling, and swinging suggests an easy conformity to momentum, a life lived without resistance or disruption. The use of casual, conversational diction—“playing it smooth, pretending / To make light of it”—emphasizes the effortlessness and superficiality of such a state.

However, the poem quickly introduces the idea of interruption: “But there’s no way out of touching / Something or being touched.” Here, Wagoner acknowledges the inevitability of external forces—events, relationships, or emotions—that disrupt the inertia of our lives. The metaphor of touch implies both physical and emotional interaction, underscoring the interconnectedness of human existence. This marks a shift from the impersonal objectivity of Newton’s law to the deeply personal realm of human experience.

The transition to the consequences of change—“and like it / Or not, you’re going to be / Slowing down because turning / A corner means coming to a dead / Halt”—grounds the poem in the reality of life’s disruptions. Wagoner uses the imagery of slowing down and halting to convey the disorientation and resistance often accompanying change. The metaphor of “turning a corner” encapsulates moments of transition, whether deliberate or imposed, and the necessity of pausing to recalibrate.

In the latter half of the poem, Wagoner contrasts the deterministic precision of physical laws with the unpredictability of human behavior. The line “keeping time / Is as inhuman as the strict first law / Of motion” critiques the rigidity of adherence to uniformity, suggesting that true humanity lies in deviation and imperfection. The description of “some lopsided jagged course” or a “switchbacked crossfooted trek” captures the messy, nonlinear nature of human journeys. These phrases celebrate the idiosyncrasies and irregularities that define individuality, rejecting the notion of a singular, fixed trajectory.

The closing lines—“some dying / Fall no star could fix, is a state of being / Human at least, and so, at last, is stopping”—offer a poignant resolution. The “dying fall,” a term often associated with music and finality, reflects both the fragility and inevitability of human cessation. By juxtaposing this with the unreachable precision of a star’s fixed position, Wagoner emphasizes the gulf between the cosmic order of the universe and the transient, imperfect reality of human existence. The ultimate act of stopping becomes not a failure but an intrinsic part of being human, a surrender to the forces beyond our control.

In”First Law of Motion”, Wagoner masterfully blends scientific principles with poetic reflection, creating a meditation on the human condition that is at once intellectual and deeply emotional. By framing the poem within Newtonian physics, he underscores the tension between the deterministic laws of the natural world and the chaotic, unpredictable nature of human life. In doing so, he celebrates the beauty of imperfection, the inevitability of change, and the quiet dignity of acceptance.

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