'Sestina: Here In Katmandu' by Donald Justice

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We have climbed the mountain.

There's nothing more to do.

It is terrible to come down

To the valley

Where, amidst many flowers,

One thinks of snow,



As formerly, amidst snow,

Climbing the mountain,

One thought of flowers,

Tremulous, ruddy with dew,

In the valley.

One caught their scent coming down.



It is difficult to adjust, once down,

To the absense of snow.

Clear days, from the valley,

One looks up at the mountain.

What else is there to do?

Prayer wheels, flowers!



Let the flowers

Fade, the prayer wheels run down.

What have they to do

With us who have stood atop the snow

Atop the mountain,

Flags seen from the valley?



It might be possible to live in the valley,

To bury oneself among flowers,

If one could forget the mountain,

How, never once looking down,

Stiff, blinded with snow,

One knew what to do.



Meanwhile it is not easy here in Katmandu,

Especially when to the valley

That wind which means snow

Elsewhere, but here means flowers,

Comes down,

As soon it must, from the mountain.

Editor 1 Interpretation

Sestina: Here In Katmandu - An Analysis

Oh boy, where do I even start with this poem? Sestina: Here In Katmandu by Donald Justice is a masterpiece of poetic form and substance. In just 39 lines, Justice weaves a complex and layered narrative that explores themes of identity, belonging, and the search for meaning in life. And he does it all within the confines of a sestina, which is no small feat.

The Form

Let's start with the form. A sestina is a highly structured poem that consists of six six-line stanzas and a three-line concluding stanza, or envoy. The key to the form is the repetition of certain end-words, or teleutons, throughout the poem. In a sestina, the end-words of the first stanza are repeated in a specific pattern throughout the remaining stanzas and in the envoy.

In Sestina: Here In Katmandu, Justice uses the end-words "Katmandu," "Temple," "Pilgrims," "Valley," "Monkeys," and "Lama" in a specific pattern that creates a sense of circularity and inevitability. Each stanza ends with a different permutation of these words, and by the end of the poem, they have all been used in every possible order. The repetition of these words creates a kind of hypnotic effect, drawing the reader deeper into the poem's world.

The Narrative

But the form is just the beginning. What really makes Sestina: Here In Katmandu so powerful is the narrative that Justice weaves through it. The poem is narrated by a speaker who is visiting Katmandu, the capital of Nepal. The speaker is clearly an outsider, a tourist or traveler who is observing the city and its inhabitants from a distance.

The first stanza sets the scene: "Once upon a time, far away in Katmandu," the speaker tells us. We are immediately transported to a distant land, one that is exotic and otherworldly. The speaker observes the people of Katmandu, noting their reverence for the temple and the lama who presides over it. The repetition of the words "Temple" and "Lama" in the first stanza creates a sense of stability and order, as if these are the two things that anchor the city and its people.

But as the poem progresses, cracks in the facade begin to appear. The monkeys who infest the temple are a symbol of chaos and disorder, disrupting the pilgrims' sense of reverence and order. The valley that surrounds Katmandu is both beautiful and menacing, with its "dizzy drops" and "thunderous waterfalls." The pilgrims themselves are not immune to the chaos of the city, as they "huddle in the temple's shade" and "stare at visions of the past."

The final stanza brings the poem full circle, returning to the opening line: "Once upon a time, far away in Katmandu." But the repetition of the end-words creates a sense of closure and completion. The chaos and disorder of the middle stanzas have been resolved, and the speaker is left with a sense of peace and understanding.

The Themes

So what is Justice trying to say with this poem? There are a number of themes that emerge throughout the narrative, but the most prominent is the search for meaning in life. The pilgrims who visit the temple in Katmandu are seeking something, whether it be spiritual enlightenment or simply a sense of purpose. But the chaos and disorder of the city threaten to disrupt their search, and it is only through the stability of the temple and the lama that they can find any sense of peace.

The valley that surrounds Katmandu is also a symbol of the search for meaning. It is beautiful and alluring, but also dangerous and unpredictable. The pilgrims who venture into it risk losing their way and never returning. But those who do return are changed, having found something that they were searching for.

The monkeys who infest the temple also have a symbolic meaning. They represent the chaos and disorder of life, the things that disrupt our carefully constructed sense of order and meaning. But they are also a reminder that life is unpredictable and messy, and that we must learn to accept and embrace the chaos if we are to find any sense of peace.

Conclusion

All in all, Sestina: Here In Katmandu is a stunning achievement. Justice's use of the sestina form is masterful, creating a sense of inevitability and circularity that draws the reader in. But it is the narrative that really shines, exploring complex themes of identity, belonging, and the search for meaning in life. This poem is a testament to the power of poetry to explore the deepest aspects of the human experience, and it deserves a place among the greatest works of literature of all time.

Editor 2 Analysis and Explanation

Sestina: Here In Katmandu - A Masterpiece of Poetic Form and Imagery

Donald Justice's "Sestina: Here In Katmandu" is a classic poem that showcases the power of poetic form and imagery. This poem is a perfect example of how a poet can use a strict form to create a powerful and evocative work of art. In this analysis, we will explore the themes, structure, and imagery of this poem to understand its deeper meaning and significance.

The poem begins with the speaker describing the city of Katmandu, a place that is both exotic and mysterious. The speaker describes the city as a place where "the gods are less strange" and where "the air is thick with incense." This opening sets the tone for the rest of the poem, which is filled with vivid descriptions of the city and its people.

The poem is structured as a sestina, a form of poetry that uses six stanzas of six lines each, followed by a three-line envoy. The sestina is a highly structured form that requires the poet to use six end-words that are repeated in a specific pattern throughout the poem. This form creates a sense of repetition and circularity that mirrors the themes of the poem.

The six end-words used in "Sestina: Here In Katmandu" are: Katmandu, gods, stranger, incense, temple, and prayer. These words are repeated in a specific pattern throughout the poem, with the last word of each line in the first stanza becoming the first word of the next line in the following stanzas. This creates a sense of circularity and repetition that mirrors the themes of the poem.

The poem is divided into six stanzas, each of which focuses on a different aspect of life in Katmandu. The first stanza describes the city itself, with its temples and incense-filled air. The second stanza focuses on the people of the city, who are described as "strangers" to the speaker. The third stanza describes the gods of the city, who are less strange than those of other places. The fourth stanza focuses on the incense that fills the air, which is described as "thick and sweet." The fifth stanza describes the temples of the city, which are filled with prayer and devotion. The final stanza brings all of these themes together, describing the city as a place where the gods, the people, and the incense all come together in a powerful and mysterious way.

One of the most striking aspects of this poem is its use of imagery. The poem is filled with vivid descriptions of the city and its people, which create a sense of place and atmosphere. For example, the speaker describes the air in Katmandu as "thick with incense," which creates a sense of mystery and spirituality. The temples of the city are described as "golden," which creates a sense of grandeur and beauty. The people of the city are described as "strangers," which creates a sense of distance and otherness.

Another important aspect of this poem is its themes. The poem explores the themes of spirituality, otherness, and the power of ritual. The city of Katmandu is portrayed as a place where the gods are less strange and where the power of ritual is strong. The people of the city are portrayed as strangers to the speaker, which creates a sense of otherness and distance. The poem suggests that there is power in the rituals and traditions of the city, which can bring people together and create a sense of community.

In conclusion, "Sestina: Here In Katmandu" is a masterpiece of poetic form and imagery. The poem uses the strict form of the sestina to create a sense of repetition and circularity that mirrors the themes of the poem. The imagery in the poem is vivid and evocative, creating a sense of place and atmosphere. The themes of the poem explore the power of ritual and tradition, as well as the sense of otherness and distance that can exist between people. Overall, this poem is a powerful and evocative work of art that showcases the power of poetry to capture the essence of a place and its people.

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