Classic and Contemporary Poetry: Explained

"So The Infant is Bound" by Edward Dorn delves deeply into the symbolic and practical aspects of a Native American tradition—binding infants to cradleboards. This practice, common among many indigenous cultures across North America, is explored here not just as a method of childcare, but as a profound philosophical and observational tool that shapes the perception and understanding of the world for those it encases.

Symbolism and Function of the Cradleboard:

The poem begins by describing the cradleboard not merely as a physical restraint but as a "platform with roof balcony onto the World," suggesting that it offers the infant a protected yet panoramic view of their surroundings. This device serves as both a "shield to the sunlance" and a boundary that limits physical movement, thereby focusing the child’s perception outward and upward rather than inward.

Observation and Learning:

Dorn emphasizes that the bound state of the infants devotes them to "pure observation," a state undistracted by their own limbs or immediate physical impulses ("the petty distraction of their fingers waving pathologically at the future"). This phrase subtly critiques perhaps more modern or Western ways of early childhood, where children are often encouraged to explore the world through touch and direct interaction. In contrast, the cradleboard’s restriction cultivates a different kind of early awareness and knowledge acquisition, one that is contemplative and deeply observant.

Fearlessness and Perspective:

The poem suggests that this method of upbringing instills in children a unique kind of boldness or fearlessness towards the future: "Because, it is from witness, they made no natural cause to fear the future." The children's early experiences, framed by the cradleboard, allow them to observe the world as a stable, unthreatening presence, something to be observed from a safe distance before being directly engaged with.

Connection to Nature and Cosmology:

Dorn ties the children’s developing perceptions directly to the landscape, indicating that their "art was of cosmic physical proportion" and that their "leading ideas come directly from the landform." This connection suggests that the physical environment is not just a backdrop for human activity but a fundamental part of the cultural and intellectual fabric of the people. The cradleboard, then, is a tool that aligns the infant’s early experiences with the vast, ordered beauty of the natural world, framing human existence within the larger cosmic and physical scales of the universe.

Transition and Engagement:

Finally, the poem hints at a future where these infants, once released from their cradleboards, are well-prepared to engage with the world. They move from "the frantic jog of escape to the just plausible image of the desert floor," suggesting a transition from theoretical knowledge or distant observation to active, physical engagement with their environment. This release is depicted not as a liberation from captivity, but as a natural progression from theory to practice, from observation to action, equipped with a profound understanding and readiness imparted by their unique start in life.

Overall, Dorn's poem reflects on the profound implications of cultural practices that might seem restrictive or alien from an outside perspective, revealing deeper insights into how these practices shape perception, knowledge, and readiness for life’s challenges. The poem is a rich exploration of how culture, environment, and upbringing intertwine to forge human understanding and capability.

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