Analysis of Babel: The Gate Of The God




Lost towers impend, copeless primeval props
Of the new threatening sky, and first rude digits
Of awe remonstrance and uneasy power
Thrust out by man when speech sank back in his throat:
Then had the last rocks ended bubbling up
And rhythms of change within the heart begun
By a blind need that would make Springs and Winters;
Pylons and monoliths went on by ages,
Mycenae and Great Zimbabwe came about;
Cowed hearts in This conceived a pyramid
That leaned to hold itself upright, a thing
Foredoomed to limits, death and an easy apex;
Then postulants for the stars' previous wisdom
Standing on Carthage must get nearer still;
While in Chaldea an altitude of god
Being mooted, and a saurian unearthed
Upon a mountain stirring a surmise
Of floods and alterations of the sea,
A round-walled tower must rise upon Senaar
Temple and escape to god the ascertained.
These are decayed like Time's teeth in his mouth,
Black cavities and gaps, yet earth is darkened
By their deep-sunken and unfounded shadows
And memories of man's earliest theme of towers.

Space, the old source of time, should be undone,
Eternity defined, by men who trusted
Another tier would equal them with god.
A city of grimed brick-kilns, squat truncations,
Hunched like spread toads yet high beneath their circles
Of low packed smoke, assemblages of thunder
That glowed upon their under sides by night
And lit like storm small shadowless workmen's toil.
Meaningless stumps, upturned bare roots, remained
In fields of mashy mud and trampled leaves;
While, if a horse died hauling, plasterers
Knelt on a flank to clip its sweaty coat.

A builder leans across the last wide courses;
His unadjustable unreaching eyes
Fail under him before his glances sink
On the clouds' upper layers of sooty curls
Where some long lightning goes like swallows downward,
But at the wider gallery next below
Recognise master-masons with pricked parchments:
That builder then, as one who condescends
Unto the sea and all that is beneath him,
His hairy breast on the wet mortar, calls
'How many fathoms is it yet to heaven!'
On the next eminence the orgulous king
Nimroud stands up conceiving he shall live
To conquer god, now that he knows where god is:
His eager hands push up the tower in thought ...
Again, his shaggy inhuman height strides down
Among the carpenters because he has seen
One shape an eagle-woman on a door-post:
He drives his spear-beam through him for wasted day.

Little men hurrying, running here and there,
Within the dark and stifling walls, dissent
From every sound, and shoulder empty hods:
'The god's great altar should stand in the crypt
Among our earth's foundations', 'The god's great altar
Must be the last far coping of our work',
It should inaugurate the broad main stair',
'Or end it', 'It must stand toward the East!'
But here a grave contemptuous youth cries out
'Womanish babblers, how can we build god's altar
Ere we divine its foreordained true shape?'
Then one 'It is a pedestal for deeds',
''Tis more and should be hewn like the king's brow',
'It has the nature of a woman's bosom',
'The tortoise, first created, signifies it',
'A blind and rudimentary navel shows
The source of worship better than horned moons.'
Then a lean giant 'Is not a calyx needful?',
'Because round grapes on statues well expressed
Become the nadir of incense, nodal lamps,
Yet apes have hands that cut and carved red crystal',
'Birds molten, touchly talc veins bronze buds crumble
Ablid ublai ghan isz rad eighar ghaurl ...'
Words said too often seemed such ancient sounds
That men forgot them or were lost in them;
The guttural glottis-chasms of language reached,
A rhythm, a gasp, were curves of immortal thought.

Man with his bricks was building, building yet,
Where dawn and midnight mingled and woke no birds,
In the last courses, building past his knowledge
A wall that swung, for towers can have no tops,
No chord can mete the universal segment,
Earth has not basis. Yet the yielding sky,
Invincible vacancy, was there discovered,
Though piled-up bricks should pulp the sappy balks,
Weight generate a secrecy of heat,
Cankerous charring, crevices' fronds of flame.
  


Scheme AXBCXDEFGHIXJKLXMXBNXXOE DHLAXBXXNXAC FMXXPXAAXXDIXXQXXXX RXAXBXRXGBXXXJXOXSXXSSKXXXQ XXXAXXPXXX
Poetic Form
Metre 1100110101 101100101110 111001010 11111111011 11011101001 01011010101 10111111010 101011110 101010101 1101010100 1111010101 1110101101 1110110010 1011011101 10111011 10100101 0101010001 110010101 0111011011 1000111001 1101111011 11000111110 1111000101 0100111001110 1011111101 01000111110 0101110111 010111111 11111101110 11111110 1101110111 011111101 100111101 011110101 11011101 1101111101 01010101110 1010011 1101011101 10110101101 11110111010 11010100101 11010111 11011111 10010111011 1101101101 11010111110 101100011 111010111 11011111111 11011101001 01110010111 01010001111 11110101011 11111111101 10110010101 0101010101 11001010101 0111011001 0110101011110 11011101101 1101000111 1111110101 11010100111 1101111110 11011111 1111010011 1101111011 11010101010 0101010101 0100100101 0111010111 101101101010 011111101 0101010111 11111101110 1101111110 1111111 1111011101 1101110101 01001011101 010010110101 1111110101 1101100111 00110101110 01111101111 1111001010 1111010101 010010011010 111111011 110010011 110100111
Closest metre Iambic pentameter
Characters 4,050
Words 710
Sentences 17
Stanzas 5
Stanza Lengths 24, 12, 19, 27, 10
Lines Amount 92
Letters per line (avg) 36
Words per line (avg) 8
Letters per stanza (avg) 656
Words per stanza (avg) 140
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Submitted on August 03, 2020

Modified on March 05, 2023

3:34 min read
87

Gordon Bottomley

Gordon Bottomley was an English poet, known particularly for his verse dramas. He was partly disabled by tubercular illness. His main influences were the later Victorian Romantic poets, the Pre-Raphaelites and William Morris. more…

All Gordon Bottomley poems | Gordon Bottomley Books

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