Classic and Contemporary Poetry: Explained

"Last Things" by William Meredith, dedicated to Robert Lowell, is a contemplative and reflective poem that explores themes of decay, obsolescence, and the passage of time. Through a series of vivid images and metaphors, the poem examines how different entities—whether living beings, inanimate objects, or historical figures—are subjected to the inexorable forces of time, losing their former significance and grandeur.

I

The first section introduces a porcupine crossing a road in a "tunnel of woods." The animal is described as "larger than life," yet moves with a cumbersome, relic-like quality, reminiscent of creatures like the "Possum, armadillo, horseshoe crab." These comparisons evoke a sense of ancientness and anachronism, as if the porcupine, like these other creatures, is out of place in the modern world. The animal's movement is depicted as joyless, likened to "burnt-out galaxies," suggesting a loss of vitality and purpose. The poem critiques our perception of such creatures, noting that "we see no dignity, / Only a want of scale," implying that their slow, awkward movements seem undignified to us. The porcupine's deliberate, graceless fall into the ferns underscores this sense of decline and obsolescence.

II

The second section shifts to a junkyard of old cars, described as "kept for the parts." This imagery of discarded vehicles, parked in rows like an "old orchard," captures the notion of things being used and then abandoned, valued only for their remaining utility. The juxtaposition of cows grazing among the cars emphasizes the dissonance between the natural and the manufactured. Despite their obsolescence, the cars retain a certain visual appeal, with their "bright colors still" and likened to "bottles hung on a bare tree" or "painted cinder blocks in a garden." This section portrays a landscape where discarded objects retain a vestige of beauty, even as they decay. The reference to "cars the same age... parked on the road like cannibals" suggests a predatory nature to the junkyard, where old cars are stripped for parts, cannibalizing one another.

III

In the third section, the focus turns to statues in a field near a harbor, representing colonial figures—"soldiers and governors and their queen." These statues, now abandoned and lying in disarray, were placed there by Africans, possibly as a rejection of colonial symbols. The statues, described with "marble countenances," appear to face the "green / Continent," symbolizing Africa. The poem acknowledges that these figures were a mix of "plunderers" and "men of honor," reflecting a complex legacy. Despite their historical significance, they are neglected, with "chipped extremities" and "chipped regalia," symbolizing the decline of their relevance. The contrast with "bolder, more dreadful shapes of the ego" in England highlights how these once-powerful symbols have lost their meaning. The African lichen that covers them is described as conferring an "antique grandeur," ironically granting them a form of dignity in their decay.

IV

The final section reflects on a mythological image of gods chained to a cliff at the edge of the Greek world, suffering eternally. This powerful metaphor speaks to the enduring nature of punishment and the lack of forgiveness from "Time." The "sentimental, hungry / Vulture compassion" that intermittently gnaws at these fallen gods symbolizes the cyclical nature of suffering and reflection, preparing each person, "even the young" and "even the old," for their eventual reckoning. The poem suggests an inevitable confrontation with one's own mortality and the consequences of one's actions, an "unthinkable / Event" that each must face.

In "Last Things," Meredith paints a poignant picture of decline and the fading of significance. The poem captures the melancholy and inevitability of decay, whether in living beings, inanimate objects, or historical legacies. Through rich imagery and thoughtful reflection, the poem explores how time erodes all things, challenging our perceptions of dignity, usefulness, and remembrance. The dedication to Robert Lowell, a fellow poet, adds a layer of personal resonance, as both Meredith and Lowell grapple with the themes of mortality and legacy in their work.

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