Classic and Contemporary Poetry: Explained

"Two Masks Unearthed in Bulgaria" by William Meredith reflects on the discovery of ancient masks in a necropolis near Varna. The poem contemplates the artistic and spiritual significance of these artifacts, suggesting they are remnants from a time when humanity was still being shaped and understood by divine forces. Through vivid descriptions and philosophical musings, Meredith explores themes of creation, the passage of time, and the nature of existence.

The poem opens with a striking image: "When God was learning to draw the human face / I think he may have made a few like these." This line suggests a time of experimentation or early creation, where even a divine being like God might have been refining the craft of human creation. The masks, now encased in "museum glass," are described as remnants from this formative period. The distance in time is emphasized by their resting place: "a few miles north of where they slept / for six thousand years, a necropolis near Varna." The mention of six thousand years highlights the vast temporal gap between their creation and their discovery, situating the masks as ancient witnesses to a distant past.

Meredith speculates on the identities of the masks: "Gods themselves, or soldiers lost abroad--- / we don’t know who they are." This uncertainty reflects the enigma of ancient artifacts and the limits of our understanding of the past. The masks, adorned with "golden staves and ornaments," are described as lying "among human bodies but had none," suggesting they were made to honor or represent beings of significance, whether divine or mortal.

The poem then delves into the physical characteristics of the masks: "The gold buttons which are their curious eyes, / the old clay which is their wrinkled skin." Meredith draws a parallel between the creation of these masks and the biblical story of Adam, noting that they seem to have been crafted "by the same free hand / that drew Adam for the Jews about that time." This connection highlights the shared cultural and religious origins of creation myths and artifacts, suggesting a universal search for meaning and representation in the human form.

The masks' eyes are described as "still questioning / and no sadder than they are, time being what it is." This observation suggests a timeless curiosity and resilience in the masks, despite the millennia that have passed. The eyes do not express sadness, perhaps because they transcend human emotions and concerns. The phrase "time being what it is" acknowledges the inevitability of time's passage and the changes it brings, yet the masks remain unaffected, eternal in their quiet presence.

Meredith concludes with a reflection on the interaction between the living and these ancient artifacts: "as though they saw nothing tragic in the faces / looking down through glass into theirs." The masks, now mere "clay and gold," seem indifferent to the human observers peering at them, suggesting a philosophical acceptance of existence's transitory nature. The final lines encapsulate this sentiment: "Only clay and gold, they seem to say, / passing through one condition on its way to the next." Here, Meredith emphasizes the idea of transformation and the impermanence of material forms. The masks, like all things, are merely passing through different states of being, moving from one condition to another.

"Two Masks Unearthed in Bulgaria" is a meditation on the enduring mystery and significance of ancient artifacts. Meredith's poetic exploration delves into the questions of identity, creation, and the passage of time. The masks, as silent witnesses to history, embody the timeless human quest for understanding and meaning. Through their serene and questioning presence, they remind us of the continuity of existence and the ever-changing nature of life and matter.

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