Classic and Contemporary Poetry: Explained

"Words After Midnight, Forbidding Remorse" by William Meredith explores the tension between love, desire, and the intrusions of guilt, fear, and societal expectations. The poem presents a defense of intimate moments and passions, arguing against the intrusion of external moral judgments and internalized doubts. Meredith uses a rich, lyrical style to convey the urgency and necessity of embracing love and rejecting remorse.

The poem opens with a direct appeal: "Do not say to the gay game nay now lover / Under cover of love enough." This line suggests an exhortation to fully embrace the joy and pleasure of love without hesitation or denial. The term "gay game" connotes a light-hearted, joyful approach to love, emphasizing the importance of not rejecting or suppressing these feelings. The phrase "under cover of love enough" implies that love itself provides sufficient justification for indulging in these moments, shielding the lovers from external moralistic scrutiny.

Meredith then questions whether a "puritan twinge"—a feeling of guilt or moral disapproval—can predict a genuine change in one's desires: "does puritan twinge / Predict, against respite from passion, real change?" The poem suggests skepticism about the idea that such feelings of guilt can lead to a lasting transformation away from passion. Instead, Meredith argues that the desire will return, "we shall want again later and greatly all over." This assertion speaks to the enduring and recurrent nature of human desire, suggesting that attempts to suppress it are ultimately futile.

The poet uses the metaphor of the "angular sky" to reflect on whether the natural world conforms to the expressions of human love: "If the angular sky was not fashioned to conform / To these warm doings, then the stars there err." The "angular sky" suggests a rigid, possibly disapproving backdrop, but Meredith insists that the natural world must align with the warmth and reality of human passions. If not, then the error lies with the stars, not with the lovers. This argument places human love in harmony with the natural order, asserting its legitimacy and importance.

Meredith warns against the intrusion of a "third sleeper" into the lovers' bed, representing external threats to their intimacy: "Forbid Fear, whether his face be righteous as this is / And his talk scriptural of ultimate places." Here, Fear is personified as a figure who could disrupt the lovers' union, potentially cloaked in righteousness or religious justification. The poem cautions against allowing such moralistic or fear-based intrusions to disrupt the sanctity of their private world.

The poem also acknowledges a different form of intrusion, represented by "War's unfeatured face / Who sleeps out nightly now and seduces / Many men and innocent women in their beds." This imagery suggests a more universal threat—war and violence—that affects many, disrupting lives and relationships indiscriminately. The reference to "War's unfeatured face" underscores the impersonal and pervasive nature of such threats.

In the final line, Meredith offers a declaration of love and fidelity: "Say always to strangers that I am all your needs." This line reaffirms the commitment and exclusivity of the love shared between the speaker and their partner, rejecting any external interference. It serves as a protective incantation, a declaration that fortifies the lovers against external forces that might seek to undermine their bond.

"Words After Midnight, Forbidding Remorse" is a passionate and defiant poem that asserts the importance of embracing love fully and rejecting the intrusion of guilt, fear, and societal judgment. Meredith argues for the legitimacy and necessity of love and desire, positioning them as essential aspects of the human experience that should not be suppressed or denied. The poem's lyrical style and rich imagery enhance its message, creating a powerful defense of love's place in the world, free from remorse and fear.

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