"Symbiosis or Death": - Rhodes University
"Symbiosis or Death": - Rhodes University
"Symbiosis or Death": - Rhodes University
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claws, sun-claws, teeth after death” (lines 38-9), should retreat at the time of “mating<br />
and birth” (line 40). So, the poet offers what solace he can and gentles the animal until<br />
“she let me ease her claws” (line 47). There is an allusion here to Tennyson’s “nature red<br />
in tooth and claw”. Livingstone, I think, struggles with the tension between the Romantic<br />
view of nature as the nurturing mother and a scientifically inf<strong>or</strong>med view of nature as<br />
contingent and uncaring.<br />
There is no doubt that Livingstone anthropom<strong>or</strong>phises the wildcat. His empathy<br />
f<strong>or</strong> the creature’s suffering is patent. But he does not follow the human custom of burying<br />
its dead. Instead he finds a compromise by placing the c<strong>or</strong>pses of the wildcat and her cub<br />
in a tree, out of reach of ground scavengers. He imagines an alternative to the natural<br />
cycle of death and decay but does not say – <strong>or</strong> cannot say – exactly what this is. The<br />
starting point is a m<strong>or</strong>e gentle, composting process where small creatures (beetles, then<br />
maggots, then ants) will feed off the c<strong>or</strong>pses. He imagines that “a cycle of maybe<br />
something m<strong>or</strong>e past<strong>or</strong>al” will follow. Through the past<strong>or</strong>al he alludes to a utopian <strong>or</strong><br />
ideal destination f<strong>or</strong> the dead wildcat and her cub. This may be interpreted as a kind of<br />
prayer f<strong>or</strong> the dead animals. In this poem Livingstone is mesmerised by nature. It reflects<br />
a moment, <strong>or</strong> interlude, where he feels himself to be part of nature and so, idealistically,<br />
he tries to temper its cruelty through human gentleness, extended to the wildcat both in its<br />
painful end to life and in its death.<br />
In another, related poem, “Wheels” (RB 26), an unb<strong>or</strong>n foetus is seen as the centre<br />
around which the w<strong>or</strong>ld revolves with its “h<strong>or</strong>izon, sun, / the earth and moon” (lines 5-6).<br />
The cub and the foetus both represent future cycles of life and in “Wheels” the foetus is<br />
figured as holy when its skull is said to be “a rosary of bone” (line 20).<br />
“Homoeostasis” 23 (AU 64) is a m<strong>or</strong>e complex poem which, through its imagery,<br />
interweaves the themes of religion, inimical <strong>or</strong> warring Nature, Darwinism, medical<br />
science as humankind’s prop, and humankind’s alienation from the physical <strong>or</strong> natural<br />
w<strong>or</strong>ld. These are all expl<strong>or</strong>ed as antithetical to homoeostasis and demonstrate the<br />
tenuousness of humankind’s natural position. Lovelock points out that homoeostasis in<br />
living systems is not a permanent, fixed state of constancy, but a “dynamic state of<br />
23 The OED defines homoeostasis as: Maintenance of a dynamically stable state within a system by means<br />
of internal regulat<strong>or</strong>y processes that counteract external disturbance of the equilibrium; the state so<br />
maintained; specifically in Physiology, maintenance of relatively constant conditions of the body.