Classic and Contemporary Poetry: Explained

In "Of Being Numerous: 26," George Oppen delves into the profound themes of identity, existence, and the overwhelming forces that shape human life. The poem presents a meditation on the limitations of human understanding, the isolation of individuals, and the stark realities of the world, which often seem insurmountable despite the power of human thought.

The poem begins with a stark image: "They carry nativeness / To a conclusion / In suicide." This line suggests a tragic resolution to the struggle for identity and belonging, where the ultimate conclusion of one's search for "nativeness" or a true sense of self leads to self-destruction. The word "nativeness" implies a deep connection to one's origins, culture, or nature, but Oppen suggests that this search can sometimes lead to despair rather than fulfillment.

Oppen then addresses the desire to "defend / Limitation / And do not know how." Here, he grapples with the inherent limitations of human life and thought. There is an acknowledgment that limitations exist and are necessary, but there is also a sense of frustration at the inability to properly defend or justify these boundaries. This reflects the tension between the need for structure in life and the recognition that such structures can also be constraining or inadequate.

The poem critiques the idea that poets should isolate themselves among other poets, suggesting that such isolation leads to a loss of "the metaphysical sense / Of the future." Oppen implies that when poets—or individuals—become too insular, they lose touch with broader, more universal concerns, reducing their sense of connection to the future or the ongoing chain of human lives. This loss results in a feeling of being the "end of a chain / Of lives, single lives," emphasizing the isolation and disconnection that can arise when one loses sight of the larger human continuum.

Oppen underscores the idea that "lives / Are single" and that this singularity is both a truth and a challenge. He reflects on the difficulty of defending the "metaphysic / On which rest / The boundaries / Of our distances," indicating that the philosophical or spiritual foundations that underpin our sense of identity and separation are fragile and hard to justify.

The poem then takes a more critical tone, lamenting that while we want to invoke "common sense," we find ourselves unable to do so. The "denial / Of death that paved the cities" suggests that modern society is built on an underlying refusal to confront mortality, a denial that has led to the creation of urban spaces that are, in Oppen's view, fundamentally disconnected from the realities of life and death. The "filthy" pavement of the cities is likened to "the corridors / Of the police," invoking a sense of corruption, decay, and the oppressive nature of urban life.

Oppen asks, "How shall one know a generation, a new generation?" and immediately dismisses superficial indicators like "the dew on them!" Instead, he suggests that the true essence of a generation is found "Where the earth is most torn / And the wounds untended and the voices confused." This imagery evokes a scene of chaos and struggle, where the most significant and defining characteristics of a generation emerge not from prosperity or calm, but from conflict and unresolved pain.

The poem describes those who fail to find their generation as withering "in the infirmaries / And the supply depots, supplying / Irrelevant objects." This suggests a loss of purpose and direction, where individuals become trapped in roles that are disconnected from the true needs and concerns of their time.

As the poem progresses, Oppen observes the "great mineral silence / Vibrates, hums, a process / Completing itself." This line reflects on the natural world's indifference to human concerns, a process that continues unabated, powerful and indifferent to human attempts to control or understand it. The mention of "windshield wipers / Of the cars" visible in this great silence juxtaposes the mundane details of human life with the vast, incomprehensible forces of nature.

The poem concludes with a meditation on the inadequacy of the human mind to contend with the "natural world," which Oppen personifies as "Behemoth, white whale, beast," and ultimately as "the fatal rock / Which is the world." These images evoke a sense of something ancient, immense, and unyielding, a force that dwarfs human efforts to comprehend or master it.

The final lines return to a more personal and reflective tone: "O if the streets / Seem bright enough, / Fold within fold / Of residence..." This suggests a yearning for comfort or reassurance in the familiar structures of daily life, yet there is also a recognition of the deeper, underlying realities that remain unchanged, symbolized by "the pebbles / Of the beach / Thru the water, flowing / From the ripple, clear / As ever they have been."

In "Of Being Numerous: 26," Oppen presents a complex exploration of the human condition, touching on themes of isolation, identity, and the overwhelming forces of nature and society. The poem reflects a deep awareness of the limitations of human understanding and the struggle to find meaning in a world that often seems indifferent to individual lives. Through its vivid imagery and philosophical reflections, the poem invites readers to consider the challenges of living in a world where both the physical and metaphysical structures that define existence are constantly in flux.

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