Classic and Contemporary Poetry: Explained

Edmund Joseph Berrigan’s “For Robt. Creeley” is a tribute poem that captures the spirit of Robert Creeley’s work and the impression he left on the poetic world. The poem echoes Creeley’s own minimalist style while simultaneously playing with language in a way that reflects Berrigan’s unique voice. The brevity, fragmented syntax, and compressed thought patterns mimic the linguistic economy for which Creeley was known, making this tribute feel both personal and stylistically aligned with its subject.

The title immediately positions this poem as a dedication to Robert Creeley. Using the abbreviated “Robt. Creeley” in the title suggests both familiarity and respect, perhaps invoking Creeley’s own tendency to reduce language to its most essential form. This decision mirrors the poet’s concise aesthetic, in which much is said with few words.

The opening line, “';In My Green Age'; like they say,” begins with an allusion to Creeley’s work, specifically a reference to youth or an earlier, more innocent period of life. The phrase "In My Green Age" likely draws from the idea of youth being associated with the color green, symbolizing vibrancy, growth, and a sense of freshness or newness. The addition of “like they say” adds a colloquial touch, as if the speaker is referencing a well-known sentiment about youth. This phrase could also be interpreted as a nod to the collective nostalgia we often have for our younger selves, tinged with a kind of wistfulness.

The second line, “much compassion, little dismay,” offers a reflection on this “green age.” The speaker recalls a time characterized by compassion—an openness to the world, perhaps a generosity of spirit—but also notes the relative absence of dismay. This is a simple, almost idyllic assessment of a time that felt less burdened by the complexities of life. The phrasing also reflects Creeley’s tendency to deal with human emotions in stark, clear terms, stripping them down to their essentials.

“Such exuberance— / Loving: Caught: Back:” shifts the tone slightly, introducing a more fragmented structure. The word “exuberance” conveys a sense of energy and joy, a continuation of the earlier theme of youth and vitality. The abrupt punctuation that follows each word—“Loving: Caught: Back:” —introduces a staccato rhythm that emphasizes each term as a distinct, important concept. “Loving” suggests the active, outward emotional state, while “Caught” may refer to the inevitable consequence of emotional involvement, whether that means being ensnared in the complexities of love or experiencing a moment of realization or connection. “Back” implies reflection, perhaps looking backward on the past or being pulled into a previous state of mind or experience. This triad of words encapsulates the movement between feeling, experience, and memory, which often characterizes Creeley’s work.

The phrase “There’s a place—” introduces a pause, an opening for contemplation. The ellipsis here is important because it leaves the statement unfinished, as if suggesting that the “place” exists beyond the scope of the poem, or perhaps it exists only in memory or imagination. It also gestures toward the idea of a place in both a literal and metaphorical sense—a physical location, or perhaps a place within one’s emotional or psychological landscape.

The closing lines, “';tho are be were as now is now,” present a playful, almost philosophical exploration of time and existence. This line plays with tenses—“are,” “be,” “were,” “is”—blurring the distinction between past, present, and future. It seems to echo Creeley’s own preoccupation with the fluidity of time, language, and identity. The statement “now is now” anchors the reader in the present moment, while the preceding words complicate this by acknowledging that the present is always shifting, shaped by what has been and what will be. This fluid, almost paradoxical relationship with time is a recurring theme in Creeley’s work, and Berrigan mirrors this sensibility in his own language.

Structurally, the poem’s fragmented lines and unconventional punctuation reflect Creeley’s stylistic influence, where form often mimics the rhythms of thought. The use of colons, dashes, and ellipses forces the reader to pause and consider the space between the words, much like Creeley’s poems, where silence and gaps in the text are as significant as the words themselves. This fragmented form also creates a sense of spontaneity, as if the speaker is capturing fleeting thoughts or memories as they occur.

In sum, “For Robt. Creeley” is a tribute that channels the linguistic precision and emotional depth of Creeley’s poetry. Through its compressed structure and playful engagement with language, Berrigan captures the essence of Creeley’s work while infusing it with his own voice. The poem reflects on youth, time, love, and the complexities of existence, themes that Creeley often explored, while also honoring the minimalist aesthetic that made his poetry so distinctive. Berrigan’s ability to evoke the spirit of Creeley in such a brief, fragmented piece is a testament to both poets’ mastery of language and form.

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