Classic and Contemporary Poetry: Explained

"MCMXCIV" by Joseph Brodsky is a scathing commentary on a time marked by stagnation and existential ennui. Written in 1994, the poem delves into a moment of societal and possibly civilizational downturn, where ambition, adventure, and inspiration seem to have drained away. The historical reference to legions and Caesar immediately invokes Roman civilization, which by extension becomes a symbol of great empires and cultures that eventually meet decay and decline.

The opening line, "Lousy times: nothing to steal and no one to steal from," captures the barrenness of the era. The notion that even thievery lacks a point underscores the idea that the society depicted has been stripped of its material and moral richness. This barren landscape extends from military endeavors ("legions return empty-handed") to prophecy ("A sybil confuses the past with the future") and art ("actors whom nobody now applauds forget the great lines").

The poem goes on to make a seemingly paradoxical claim that "Forgetting, however, is the mother of classics." Here Brodsky suggests that time can transform even forgettable periods into objects of veneration or study-much like a "slab of marble" that gains character through a "network of capillaries," such as aqueducts or taxation systems. This could be a reminder that our interpretation of past civilizations and eras is often one-dimensional, focused on their achievements rather than their mundane struggles or failures.

The theme of inaction and stagnation is emphasized by the lines "when there was nothing to steal, still less to buy, not to mention to offer somebody as a present." The absence of transaction-either illicit or legitimate-paints a picture of an inert society, devoid of desires or opportunities. The poem goes on to absolve Caesar and the celestial stars of blame for this stagnation, hinting that societal decay is a more complex phenomenon, not easily attributed to leadership or destiny.

Brodsky further dives into the philosophical realm by stating, "an absence cannot influence a presence." This line can be interpreted in multiple ways. It could mean that the decline isn't the result of any external absence (such as strong leadership or destiny) but stems from internal deficiencies. Alternatively, it might signify that no matter how bad things become, the absence of good times cannot influence or negate the existence of those living through these times.

The poem concludes with the idea that "one-sidedness is the enemy of perspective." In this ending, Brodsky posits that perhaps it's not only human beings but "things" that have lost "their desire to multiply." This suggests that the existential barrenness extends beyond human society to the universe at large, leading to a "white captivity," a stark, lifeless expanse.

"MCMXCIV" employs a sparse but impactful style. It relies on historical and cultural references to construct its allegory, making every word and image resonate with multiple layers of meaning. Through its bleak landscape and profound ruminations, the poem offers a nuanced reflection on societal decline, one that challenges us to examine our own times critically. The poem serves as a reminder that every era, no matter how barren it may seem, will someday become part of the historical tapestry, open to reinterpretation and reevaluation.

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