Classic and Contemporary Poetry: Explained

Richard Wilbur’s "The Eye" begins with a provocative epigraph from D.H. Lawrence: “... all this beastly seeing.” This quote sets the stage for a meditation on the nature of vision—its potential to objectify, isolate, and trivialize, but also its capacity to connect, dignify, and reveal deeper truths. The poem, divided into two sections, grapples with the moral implications of sight, exploring how the act of seeing shapes our understanding of the world and our relationship to others. Wilbur acknowledges the seductive allure of perception while advocating for a more compassionate and profound way of engaging with the world.

The first section recounts a morning in St. Thomas, where the speaker experiments with binoculars to magnify the surrounding landscape. Initially, the act of seeing seems innocuous, even mundane: “In the green slopes about us, only green, / Brisked into fronds and paddles, could be seen.” However, the binoculars soon reveal intimate scenes, from a person reading a newspaper to “espadrilles of pink / Bearing a tall and fruit-crowned tropic drink.” These details, though seemingly trivial, highlight the invasive potential of magnified vision, transforming ordinary moments into spectacles.

The speaker reflects on his own motivations, questioning why he is so captivated: “What kept me goggling all that hour? The nice / Discernment of a lime or lemon slice? / A hope of lewd espials?” These lines reveal an uneasy self-awareness, as the speaker confronts the voyeuristic pleasure of observing others unnoticed. Yet the poem moves beyond this discomfort to consider the transformative power of framing: “An astounded / Sense of the import of a thing surrounded.” The binoculars create a frame that imbues the mundane with significance, reshaping perception and hinting at the constructed nature of meaning.

The image of the speaker as “an unseen genius of the middle distance, / Giddy with godhead or with nonexistence” underscores the duality of sight. On one hand, it grants the illusion of control and omniscience, allowing the observer to manipulate focus and context. On the other hand, it isolates the observer, emphasizing the artificiality of their position and the limitations of their understanding. This tension aligns with Lawrence’s critique of “beastly seeing”—the risk of reducing the world to an object for consumption rather than engaging with it authentically.

In the second section, the poem shifts tone and focus, invoking Saint Lucy, the patron saint of sight, as a guide and corrective force. This appeal reflects a desire to move beyond the superficial and objectifying aspects of vision toward a more holistic and ethical perspective. The speaker acknowledges the danger of detached observation, as illustrated by the stark image of “the salesman’s head / Rolls on the seat-back of the ’bus / In ugly sleep.” Though the scene invites curiosity, the speaker pleads, “Forbid my vision / To take itself for a curious angel,” rejecting the temptation to view others as mere subjects of scrutiny.

Wilbur contrasts this detached gaze with a vision that recognizes “the beat of spirit” in all bodies, regardless of their physical condition. The examples of “the strong, / Shouldering gait of the legless man” and “the calm walk of the blind young woman” illustrate the resilience and dignity of human beings, urging the observer to see beyond external appearances. This call for empathetic vision challenges the notion that perception is solely about surfaces or aesthetic appreciation.

The closing lines offer a profound resolution: “Let me be touched / By the alien hands of love forever, / That this eye not be folly’s loophole / But giver of due regard.” Here, Wilbur reframes sight as an act of connection, guided by love and respect. The phrase “alien hands of love” emphasizes the transformative power of empathy, urging the speaker to see not just with the eye but with the heart. The poem’s conclusion aligns with Lawrence’s critique, suggesting that true vision requires humility, compassion, and an openness to the other.

Structurally, the poem’s division into two parts mirrors its thematic journey—from the seductive allure of vision to its moral imperative. The first section, with its vivid imagery and sensory details, captures the pleasure and complexity of seeing, while the second section reflects a deeper introspection, challenging the reader to consider the ethical responsibilities of observation. The balance between descriptive richness and philosophical inquiry creates a layered meditation on the act of seeing.

At its core, "The Eye" grapples with the dual nature of vision: its power to objectify and isolate, and its potential to connect and dignify. By engaging with Lawrence’s critique of “beastly seeing,” Wilbur interrogates the moral implications of perception, advocating for a vision grounded in empathy and love. Through its vivid imagery, introspective tone, and philosophical depth, the poem invites readers to reconsider the ways in which they engage with the world and the people around them. It is a call to see not just the surfaces of things but the spirit and humanity that lie within.

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