Uranus1

By Arthur Hugh Clough

    When on the primal peaceful blank profound,     Which in its still unknowing silence holds     All knowledge, ever by withholding holds,     When on that void (like footfalls in far rooms),     In faint pulsations from the whitening East     Articulate voices first were felt to stir,     And the great child, in dreaming grown to man,     Losing his dream to piece it up began;     Then Plato in me said,     Tis but the figured ceiling overhead,     With cunning diagrams bestarred, that shine     In all the three dimensions, are endowed     With motion too by skill mechanical,     That thou in height, and depth, and breadth, and power.     Schooled unto pure Mathesis, might proceed     To higher entities, whereof in us     Copies are seen, existent they themselves     In the sole kingdom of the Mind and God.     Mind not the stars, mind thou thy Mind and God.     By that supremer Word     Oermastered, deafly heard     Were hauntings dim of old astrologies;     Chaldean mumblings vast, with gossip light     From modern ologistic fancyings mixed,     Of suns and stars, by hypothetic men     Of other frame than ours inhabited,     Of lunar seas and lunar craters huge.     And was there atmosphere, or was there not?     And without oxygen could life subsist?     And was the world originally mist?     Talk they as talk they list,     I, in that ampler voice,     Unheeding, did rejoice.

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Poem Details

Language: English
Keywords: Public Domain
Source: Public Domain Collection
Rights/Permissions: Public Domain

Analysis & Notes:
This poem by Arthur Hugh Clough, though more complex and philosophical than his other works, engages deeply with metaphysical and existential themes, particularly the relationship between human understanding and the cosmos, as well as the limitations and potential of human knowledge. The speaker wrestles with the tension between empirical science and metaphysical philosophy, ultimately finding solace in the “ampleness” of a higher, transcendent understanding.

Structure and Form
The poem is written in free verse, meaning it lacks a formal rhyme scheme or consistent meter. This allows Clough to express complex philosophical ideas without being constrained by a fixed structure. The loose and flowing form of the poem mirrors the way in which the speaker’s thoughts evolve, moving from an abstract and cosmic perspective to a more introspective conclusion.

Themes
The Limitations of Human Knowledge: The poem begins by describing the "primal peaceful blank profound," a cosmic void that contains all knowledge by withholding it. This suggests that the universe holds infinite potential for knowledge, but much of it remains inaccessible or unknowable. The idea that knowledge is both "held" and "withheld" introduces the theme of the limits of human understanding. The mention of Plato and "pure Mathesis" refers to the pursuit of abstract, mathematical truth and metaphysical knowledge. Clough suggests that while science and reason can offer some understanding of the universe, they ultimately lead to the realm of the mind and God, which transcends empirical observation.

The Conflict Between Science and Philosophy: The poem explores the contrast between the empirical study of the stars (astronomy) and the metaphysical, philosophical understanding of the universe. The speaker refers to "articulate voices" and “modern ologistic fancyings,” implying that scientific explanations of the stars (such as "lunar seas" and "lunar craters") are mixed with speculative theories that lack the depth of true understanding. Clough juxtaposes this scientific curiosity with Plato’s ideal of abstract forms, which reside "in the sole kingdom of the Mind and God."

This reflects the tension between scientific inquiry—concerned with the physical, observable universe—and philosophical thought, which seeks higher, abstract truths beyond the material world. The poem advocates for focusing on the mind and spiritual understanding over material observations of the cosmos.

Transcendence and Higher Knowledge: As the speaker progresses in thought, they come to embrace a higher, more profound understanding, beyond the speculations of astronomers and the "Chaldean mumblings" of astrologers. The final lines, “I, in that ampler voice, / Unheeding, did rejoice,” suggest that the speaker finds peace and joy in this transcendent knowledge, which surpasses the limitations of empirical science and astrology. This "ampleness" refers to a more holistic and spiritual understanding that encompasses both mind and God.

Plato and the Ideal Forms: Plato is mentioned explicitly in the poem, serving as a symbolic figure for the realm of metaphysical, abstract thought. In Plato’s philosophy, the material world is a mere shadow or reflection of the true reality, which exists in the world of ideal forms. The poem reflects this idea by urging the speaker to “Mind not the stars, mind thou thy Mind and God.” The stars are seen as mere symbols or "diagrams bestarred," while true knowledge lies in the realm of the mind, where one can access higher entities that are perfect and eternal, rather than tied to the physical universe.

Imagery and Symbols
The Void: The poem opens with an image of a "primal peaceful blank profound," representing the cosmic void before the articulation of knowledge. This blankness is both a source of potential and a symbol of the limits of human understanding. The void "holds all knowledge" but only by withholding it, suggesting that ultimate knowledge lies beyond human comprehension.

The Stars: The stars in the poem symbolize both the physical universe and the limitations of empirical science. The speaker dismisses the stars as "cunning diagrams bestarred" and encourages the pursuit of higher, philosophical knowledge rather than mere astronomical observation. This reflects the Platonic idea that the physical world is only a shadow of the true reality.

Chaldean Astrology and Modern Science: The poem juxtaposes "Chaldean mumblings" (a reference to ancient astrology) with "modern ologistic fancyings" (modern scientific speculation). Both are treated somewhat dismissively, as they focus on the material aspects of the cosmos without grasping the deeper, metaphysical truths that lie beyond. The Chaldeans were famous for their astrology, which sought to predict human fate based on the stars, while "modern ologistic" refers to the speculative and hypothetical nature of contemporary science regarding space and the universe.

Ampleness: The final metaphor, "ampleness," suggests a sense of fullness or completeness that goes beyond the narrow confines of empirical or speculative knowledge. The speaker finds peace in this ampler voice, which suggests a transcendent understanding that encompasses both mind and God.

Tone
The tone of the poem is philosophical and contemplative, but it also carries a sense of relief and joy as the speaker moves from the confusion of scientific speculation to a deeper, more satisfying understanding. The final lines convey a feeling of contentment and peace, as the speaker finds solace in a higher truth.

Exploring Lyric Poetry

Lyric poetry is a powerful and intimate form of expression, characterized by its focus on the personal emotions and thoughts of the poet. Often musical in nature, lyric poems resonate with readers through their vivid language and rhythmic flow, capturing moments of intense feeling.


Here are some key characteristics that define lyric poetry:

  • Expressive Language: Lyric poems use rich and evocative language to convey deep emotions, often painting a vivid picture of the poet's inner world.
  • Personal Perspective: Typically written in the first person, these poems offer a window into the poet's personal experiences, thoughts, and reflections.
  • Musicality: Lyric poems often feature a rhythmic structure, with meter and rhyme that give them a song-like quality, enhancing the emotional impact.

From ancient odes to contemporary free verse, lyric poetry remains a beloved and enduring form, celebrated for its ability to articulate the nuances of human emotion in a way that resonates deeply with readers.