Classic and Contemporary Poetry: Explained

In "Of Being Numerous: 2," George Oppen continues his exploration of the complexities of modern existence, focusing on the tension between the tangible, material world and the abstractions that people create to make sense of it. The poem juxtaposes the physical reality of "things" with the artificial constructs of human society, particularly those embodied in modern urban life.

The poem opens with a reflection on "the existence of things," suggesting an acknowledgment of the material world and its undeniable presence. However, Oppen describes this existence as an "unmanageable pantheon," implying that the multitude of objects, experiences, and realities in the world is overwhelming and difficult to comprehend or organize into a coherent whole. The term "pantheon" traditionally refers to a collective of gods, which here might symbolize the various elements of existence that demand attention and reverence, yet resist control or simplification.

These elements are described as "Absolute," suggesting that they are fundamental and unchangeable. However, the speaker notes that "they say / Arid," indicating a perception that these absolutes, despite their importance, can feel dry or lifeless—lacking in emotional or spiritual fulfillment. This introduces a tension between the necessity of acknowledging the reality of things and the desire for something more enriching or meaningful.

Oppen then turns to the modern urban environment, describing it as "A city of the corporations / Glassed / In dreams / And images—". This image evokes a cityscape dominated by corporate power and influence, where the structures of the city are literally and figuratively "glassed"—reflective, transparent, and perhaps insubstantial. The use of "dreams" and "images" suggests that this urban environment is shaped more by fantasy, illusion, and superficial appearances than by concrete reality. The city becomes a place where the line between what is real and what is imagined is blurred, with corporate interests creating an environment that prioritizes appearance over substance.

Despite this, Oppen introduces a contrasting element with "the pure joy / Of the mineral fact." This phrase celebrates the simplicity and purity of the natural, physical world—the "mineral fact" represents the undeniable reality of matter, the basic building blocks of existence. However, Oppen quickly complicates this notion by stating that this reality, "tho it is impenetrable / As the world, if it is matter, / Is impenetrable." Here, the joy of recognizing the material world is tempered by the realization that it remains ultimately "impenetrable"—unfathomable, resistant to full understanding or control.

The poem suggests that while the physical world provides a foundation for existence, it is not something that can be easily grasped or fully comprehended. The "mineral fact" may be pure and real, but it also eludes complete human understanding, much like the world itself. The impenetrability of matter underscores the limitations of human perception and the challenges of making sense of a world that is both concrete and mysterious.

In "Of Being Numerous: 2," Oppen reflects on the dual nature of existence: the tangible, impenetrable reality of the physical world and the ephemeral, often deceptive nature of human constructs such as cities and corporations. The poem explores the difficulty of reconciling these two aspects of life—one grounded in the unyielding materiality of the world, the other in the illusions and abstractions that shape modern urban life. Through his careful and precise language, Oppen invites readers to consider the complexities of living in a world where reality is both undeniable and ultimately beyond full comprehension.

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