Classic and Contemporary Poetry: Explained

In "Before Sleep," Ezra Pound captures the liminal space between consciousness and the realm of sleep, a world guided by gods both ancient and mystical. The poem can be seen as a journey through states of mind, from the murky, ambiguous realm of sleep and dreams to the awakening inspired by "Pallas," the goddess of wisdom. A dual narrative unfolds, each part presenting its own set of divine attendants and psychological undertones.

The first part conjures the presence of gods who work "pathetically in my favour," seeming desperate or earnest in their attention toward the speaker. Their role is curiously mundane - they "seek my financial good," an unexpected concern for deities usually associated with life, death, and fate. The "gods of the underworld" suggest a subterranean, shadowy realm, tied to sleep or the unconscious mind. Annubis, the Egyptian god of mummification and the afterlife, is invoked, adding a funereal or transformative aspect to this space.

In the phrase "Their realm is the lateral courses," the lateral vibrations appear to represent a state of equilibrium or stasis, perhaps the sameness or routine of life. In that space, the gods function with "pathetic solicitude," as if their attentiveness is both pitiful and comforting. They are "undulant," fluctuating in their attention or in the realms they command, perhaps mirroring the wavering consciousness of the speaker teetering on the edge of sleep.

Then comes the awakening. Part two opens with a one-word exclamation, "Light!" as if a revelation or clarity has suddenly manifested. Pallas, or Athena, is now the central deity, representing wisdom, warfare, and strategic thinking. She is the antithesis to the gods of sleep and perhaps the underworld; she ignites action, thought, and progress.

"You were gone up as a rocket," the speaker notes, suggesting that the ascent of wisdom or inspiration is not only upward but also explosive, a burst of understanding that cannot be ignored. Pallas's movements are described as a spiral, bending "from right to left and from left to right," illustrating the complexity and dynamism of wisdom or enlightenment. This is in stark contrast to the "lateral courses" of the previous gods, who seem confined to a single plane of existence or understanding.

As the speaker rises, "The gods of drugged sleep attend me, / Wishing me well." They are not antagonistic forces but rather parts of a continuum of existence or consciousness, each with their own roles and dominions. The speaker appreciates their solace but is compelled to follow Pallas, to move toward wisdom and wakefulness.

"Before Sleep" thus serves as a poetic allegory for the human condition, suspended between the lethargy of routine and the alertness of revelation. Pound expertly uses ancient gods to embody aspects of our psyche and stages of our daily existence, creating a surreal yet relatable landscape of mental and emotional states. It is a narrative of transition, of coming into the light from the shadows, echoing the constant human endeavor to transcend the mundane in pursuit of the divine or the enlightened.

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