Classic and Contemporary Poetry: Explained

In "Toward Rationality", Robert Penn Warren presents a philosophical meditation on the passage of time, the human desire for meaning, and the inevitable descent into chaos and uncertainty. The poem uses a range of imagery—from the stones of a moraine to historical allusions and mythological references—to explore the tension between rationality and the forces of nature, time, and fate that resist human understanding. Throughout, Warren contrasts human attempts to find stability and wisdom with the inescapable reality of decay and disorder, suggesting that any pursuit of rationality must ultimately confront these immutable forces.

The poem begins with an address to "Brothers," identifying the speaker and the listeners as "stones on this moraine of time." A moraine is a geological formation made up of rocks and debris deposited by a glacier, symbolizing the slow, relentless movement of time that leaves humans like stones—static, yet carried along by forces beyond their control. By equating himself and his "brothers" with stones, the speaker introduces the idea of human insignificance in the grand sweep of time, with each person as a small, immovable part of a much larger, uncontrollable process.

The speaker connects this imagery to the historical figure of Xerxes, the Persian king who famously crossed the Hellespont in an ambitious military campaign. The reference to a "littoral picnic by the unfettered brine" evokes the image of Xerxes' army by the sea, but this historical moment is reimagined as a casual, almost leisurely event. The use of the word "picnic" juxtaposes the gravity of historical conquest with something as mundane as a seaside outing. The "unfettered brine" represents the sea, an untamable and limitless force, highlighting the contrast between human ambition and the vast, uncontrollable natural world.

The line "This commentary, perhaps, will discommode" suggests that the speaker’s reflections may be unsettling to the listener, introducing a sense of discomfort or unease. The "cortex-knotty apple," drawn from the "lambent air," hints at the complexity of human thought and knowledge, referencing the brain’s convoluted structure (the cortex) and the apple, traditionally a symbol of knowledge or temptation. However, the speaker immediately questions what this knowledge truly offers: "what?" This ambiguity points to the limitations of human understanding, despite the pursuit of intellectual or philosophical clarity.

The reference to being "perpetual, blithe, armed cap-a-pie" (fully armed) suggests that the listeners, or perhaps humanity as a whole, face the world with a sense of preparedness and confidence. However, this confidence is undercut by the "modifying sound" of the "ungirt seatone"—the sea, once again representing a force that cannot be tamed or fully understood. The sea’s sound "modifies" human certainty, reminding us that even as we strive for rationality, we are always at the mercy of nature’s unpredictability.

The speaker then invites the listener to "ransack your backward calendar for sages," urging them to search history for figures of wisdom, whether philosophers or kings. However, even these great figures, with their "architectural and russet names," are distant and faded, their wisdom seemingly inadequate in the face of time’s relentless forward march. The mention of "the postulate zinnia by the path" introduces a flower as a metaphor for simplicity and beauty, yet even this natural symbol of growth is reduced to a mere postulate—something proposed but uncertain.

In the next section, the speaker contrasts the natural world’s order with human chaos. The "red kine" (cattle) and the "seaswoop fisher" follow their instincts without error, guided by nature’s cycles, unlike humans, who are prone to error and disorder. The fisher, "abler Ptolemy," invokes the ancient Greek astronomer and geographer, whose calculations and maps aimed to bring order to the cosmos, yet this order feels fragile in comparison to the enduring forces of nature. The "cedar standing close to my house wall" groans under the pressure of the "east wind," reminding the speaker that even the strongest elements of the natural world are not immune to the forces of time and decay.

The tone becomes darker as the speaker addresses the "happy gentlemen," who are too content and complacent, unaware that they "freeze / Downward." This freezing is not just physical but metaphorical, representing a descent into paralysis or stagnation. The image of "shuffling the picturecard mind" evokes a futile attempt to organize or make sense of memories, ideas, and experiences, but the effort leads to nothing more than a reflection of "the rude Abhorson's spittlebearded grin." Abhorson, the executioner from Shakespeare’s "Measure for Measure", symbolizes death and the crude realities of human mortality. The speaker suggests that despite all attempts at rationality and understanding, what ultimately stares back at us is the face of death and decay, a grim reminder of the limits of human endeavor.

In "Toward Rationality", Robert Penn Warren explores the human desire for meaning, structure, and understanding in a world governed by forces that resist rationalization. Through references to history, mythology, and nature, Warren presents a world where human ambition is repeatedly confronted by the vast, uncontrollable realities of time, nature, and mortality. The poem’s tone shifts between intellectual contemplation and a growing sense of futility, culminating in the realization that despite our best efforts, we are left facing the "spittlebearded grin" of death and chaos. In the end, "Toward Rationality" suggests that while the pursuit of understanding is a defining feature of human existence, it is also fraught with limitations and, ultimately, inescapable realities that cannot be reasoned away.

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