Classic and Contemporary Poetry: Explained

William Stanley Merwin's poem "Vocations" is a multifaceted meditation on the search for purpose, the passage of time, and the experience of navigating life's complexities. The poem is structured in three sections, each offering distinct but interconnected reflections on the nature of existence, simplicity, and the journey through life. Through its introspective tone and evocative imagery, the poem explores themes of longing, the ephemeral nature of light and life, and the tension between the desire for clarity and the inevitable march of time.

**Section I** begins with an invocation to "Simplicity," personified as a distant and elusive entity. The speaker asks, "Simplicity, if you / Have any time / Where do you spend it?" This question highlights the rarity and inaccessibility of simplicity in the speaker's life, suggesting that it is something that is difficult to attain or even locate. The speaker's attempt to "tempt" simplicity with "clear water" symbolizes a desire to draw simplicity near, to invite it into their life. The imagery of "hanging out a blue eye" all day and longing "for the sound of your small bell / Of an unknown metal" at night conveys a deep yearning for clarity, purity, and a sense of peace that simplicity might bring. Yet, this simplicity remains elusive, represented by the "small bell" of an "unknown metal"—something that can be imagined or hoped for but not easily grasped.

**Section II** shifts to a more observational tone, where the speaker reflects on the inevitability of change and the passage of time. The lines "The color leaves but the light stays, / The light stays but we cannot grasp it" capture the transient nature of life. While light remains after color fades, it is intangible, something that persists but cannot be held onto. This imagery suggests the persistence of life or consciousness even as the more vivid aspects of existence—like color—disappear. The speaker then describes leaving "the tree rocking its / Head in its hands," an evocative image of nature personified as something mourning or contemplating, before retreating "indoors." This movement indoors symbolizes a withdrawal from the natural world or perhaps from the contemplation of life's impermanence, seeking refuge in a more controlled, enclosed space.

**Section III** is the longest and most complex section of the poem, weaving together themes of memory, time, and the journey through life. The speaker describes "the locked doors of the night" sitting in a circle, a haunting image that suggests the inescapable barriers of time and the unknown. The "promises of the bridges" that the speaker recalls hint at past hopes or dreams that may not have been fulfilled. The act of getting up to "wash my shadow in the river" symbolizes an attempt at purification or renewal, an effort to cleanse oneself of past burdens or regrets.

The poem then takes a more surreal turn, with the speaker mentioning "the hands of the water" that "have found tomorrow." This suggests that while the speaker is lost, the natural world continues to move forward, finding its way into the future. The phrase "Naturally it is night" acknowledges the inevitability of darkness or the unknown in life, while the speaker continues "going my way / Which has a strange sound." The "strange sound" could symbolize the unfamiliar or unpredictable nature of the speaker's journey, marked by both uncertainty and persistence.

The speaker listens to the dust—both "this way" and "that way"—suggesting a dual awareness of the past and future, or perhaps the simultaneous presence of life and death. The poem's imagery becomes more introspective as the speaker recalls "the leaves sitting in judgment" followed by "winter," a metaphor for the passage of time and the harsh, inevitable arrival of life's end.

The rain, with its "bundle of roads," taking "all its roads" "Nowhere," evokes a sense of futility or the endless, circular nature of life's journey. The speaker expresses a paradoxical awareness of both youth and age—"Young as I am, old as I am"—suggesting a timelessness or a blending of different stages of life.

The final lines of the poem are reflective and contemplative, as the speaker forgets "tomorrow, the blind man," and other markers of life, like "the life among the buried windows" and "the eyes in the curtains." These images suggest a detachment from the concerns of the everyday world, a letting go of the need to remember or hold onto these elements. The "wall / Growing through the immortelles" introduces the idea of life persisting even in the face of death, as immortelles (everlasting flowers) continue to grow despite the presence of a wall, perhaps representing death or a barrier.

The poem closes with the speaker acknowledging, "This must be what I wanted to be doing, / Walking at night between the two deserts, / Singing." This conclusion suggests a kind of acceptance or resolution, as the speaker finds contentment in the simple act of walking and singing, even in a landscape defined by desolation or emptiness ("between the two deserts"). The act of singing implies a form of expression or creation, a way to navigate the uncertainties and challenges of life with some measure of grace and presence.

"Vocations" is a richly layered poem that delves into the complexities of existence, the search for meaning, and the acceptance of life's inherent uncertainties. Through its vivid imagery and introspective tone, Merwin invites readers to reflect on their own journeys, the elusive nature of simplicity and understanding, and the ways in which we find meaning even in the midst of uncertainty and change. The poem ultimately suggests that the act of moving forward, of continuing to walk and sing, is itself a form of vocation—a way of engaging with life that acknowledges both its beauty and its challenges.

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