Classic and Contemporary Poetry: Explained

"The Spirit Tablets at Goa Lake: Epilogue" by Norman Dubie is a contemplative poem that employs vivid imagery and a tender, yet expansive tone to evoke themes of nature, transcendence, and the cyclic quality of life. The poem captures a moment that seems simultaneously mundane and mystical, inviting the reader to witness a scene of natural beauty and human simplicity imbued with spiritual significance.

The opening line, "An artesian water-gig volunteers in the evening's mustard," introduces the poem with an image that is both vibrant and obscure. The phrase "evening's mustard" likely refers to the golden hues of sunset, setting a tone of warmth and fading light. The "artesian water-gig" might suggest a natural fountain or a small, man-made contraption interacting with water, emphasizing the theme of natural forces at work. This scene is further animated by the "dustfall of cow flies, stooped and complicated by light" — a description that transforms an ordinary occurrence into a spectacle of light and motion, enriching the visual texture of the poem.

Dubie then shifts focus to "small girls in yellow rags leaving the thousand years of a dry hillside." This line evokes a sense of ancient, enduring nature contrasted with the fleeting innocence and poverty of the girls. Their yellow rags might symbolize both their impoverished conditions and a connection to the earlier mustard hues of the evening, linking human life closely with the natural world. The imagery of a "dry hillside" suggests harsh living conditions, yet the mention of "thousand years" imbues the landscape with a timeless, almost sacred quality.

The transformation in the poem occurs as "the earth moves lifting the children into sky," a powerful metaphor for elevation or transcendence, possibly indicating a moment of spiritual or emotional upliftment. This line breaks away from the harsh physical reality and introduces a mystical element, where the children are metaphorically raised above their earthly circumstances.

The poem concludes in "the poor kitchens of the darkening mountain where hungry birds in their least bright aspect reply in generous laughter-like repetitions of flight." This setting—a darkening mountain with poor kitchens—suggests a continuation of the harsh, impoverished environment, yet there is a transformative element in the behavior of the birds. Their "generous laughter-like repetitions of flight" add a layer of joy and freedom, contrasting their "least bright aspect" with a vibrant, life-affirming action.

Ending with "it is again, the mother night," Dubie encapsulates the entire scene within the cycle of day and night, emphasizing the natural rhythms that govern life. The phrase "mother night" personifies the night as nurturing and encompassing, suggesting a return to comfort and rest, a resetting of sorts that prepares for the renewal of the next day.

Overall, "The Spirit Tablets at Goa Lake: Epilogue" weaves a tapestry of imagery that speaks to the interconnectedness of human life and the natural world. It portrays a scene of simple lives touched by the grandeur of nature, highlighting moments of beauty, struggle, and transcendence in a cyclic and enduring landscape. The poem invites reflection on the profound and often unseen forces that shape our experiences and our responses to the world around us.

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