Classic and Contemporary Poetry: Explained

"So Forth" by Joseph Brodsky serves as a poetic exploration of life's inevitable shifts and the passage of time. The poem opens with the approaching end of summer and a sense of conclusion as September ushers in the fall hunting season. Through its intertwining themes and complex metaphors, the poem critically examines the speed of change and the impermanence of everything we hold familiar.

At first glance, the poem can be mistaken for a narrative about the changing seasons and the return of autumnal activities such as hunting. However, Brodsky is quick to point out that "the point, of course, is not autumn," but rather the insatiable flux of life. The world changes so quickly that it seems to be "mainlining some muck obtained from a swarthy alien." The imagery here is jarring and effectively portrays the frenetic pace at which life and our surroundings evolve.

One of the poem's primary themes is the perception of self in a constantly changing world. Brodsky evokes this through the image of a "puny paintbrush left idle by the painting that lacks a frame, a beginning, an end, a middle." Here, the individual is portrayed as powerless, suspended in an unfathomable landscape of rapid transformation. The sense of stasis, represented by the "idle" paintbrush, contrasts starkly with the "motion" that is "mandatory" in the external world. The individual feels disconnected, as if he belongs neither to the beginning nor the end of this ever-changing tapestry.

The poem also delves into the concept of aging and the alteration of self. This is emphasized by the phrase "You've grown long in the tooth," suggesting that even personal identities are subject to the unforgiving march of time. As one ages, the "keen lung" is no longer stimulated by the youthful thrill of the hunt but rather by the simple aroma of "apricots," signifying a shift in priorities and pleasures.

As the poem progresses, it grapples with the idea of "speed" in the context of historical and personal time. Brodsky posits that at the speed at which the world is changing, even "an ancient Roman" risen from the dead would recognize only rudimentary aspects like "the blue yonder, a cloud's texture, flat water." Here, the poet links the idea of rapid change not only to the passage of seasons but also to historical time, suggesting that speed erases recognizable features and identities, leaving only transient impressions behind.

The poem, written in 1989, captures a moment in time that is particularly relevant for its mention of the shift in technological paradigms. Brodsky refers to the "steamship at sea" and an "airplane's callous profile," invoking nostalgia for a bygone era. These modes of transport, once considered marvels, have lost their "halos," rendered ordinary by the relentless advance of technology.

Towards the conclusion, Brodsky raises existential questions about the afterlife, suggesting that "decrepitude is, after all, that afterlife." Here, Brodsky doesn't offer consolation or escapism but presents life and aging as a sort of earthly afterlife-a state of being we must accept.

In its multifaceted examination of change, aging, and the passage of time, "So Forth" encapsulates the transient nature of human existence. Brodsky masterfully interweaves vivid imagery and complex themes to produce a poem that is both an existential exploration and a poignant reflection on life's inevitable uncertainties.

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