The Complex Life
I know it to be true that those who live
As do the grasses and the lilies of the field
Receiving joy from Heaven, sweetly yield
Their joy to Earth, and taking Beauty, give.
But we are gathered for the looms of Fate
That Time with ever-turning multiplying wheels
Spins into complex patterns and conceals
His huge invention with forms intricate.
Each generation blindly fills the plan,
A sorry muddle or an inspiration of God
With many processes from out the sod,
The Earth and Heaven are mingled and made man.
We must be tired and sleepless, gaily sad,
Frothing like waves in clamorous confusion,
A chemistry of subtle interfusion,
Experiments of genius that the ignorant call mad.
We spell the crimes of our unruly days,
We see a fabled Arcady in our mind,
We crave perfection that we may not find.
Time laughs within the clock and Destiny plays.
You peasants and you hermits simple livers!
So picturesquely pure all unconcerned
While we give up our bodies to be burned,
And dredge for treasure in the muddy rivers.
We drink and die and sell ourselves for power,
We hunt with treacherous steps and stealthy knife,
We make a gaudy havoc of our life
And live a thousand ages in an hour.
Our loves are spoilt by introspective guile,
We vivisect our souls with elaborate tools,
We dance in couples to the tune of fools,
And dream of harassed continents the while.
Subconscious visions hold us and we fashion
Delirious verses tortured statues spasms of paint,
Make cryptic perorations of complaint,
Inverted religion and perverted passion.
But since we are children of this age,
In curious ways discovering salvation,
I will not quit my muddled generation,
But ever plead for Beauty in this rage.
Although I know that Nature’s bounty yields
Unto simplicity a beautiful content,
Only when battle breaks me and my strength is spent
Will I give back my body to the fields.
This poem is in the public domain. Published in Poem-a-Day on October 11, 2025, by the Academy of American Poets.
“The Complex Life” appeared in Poems (John Lane Company, 1919). In “Gaudy Havoc: Iris Tree’s Performative Decadent Modernism,” Sarah Parker, a scholar in nineteenth- and twentieth-century literature at Loughborough University, writes, “Tree captures both the torment and alienation of the youthful generation caught up in the devastation of World War I, and the indulgence through which they intensified this potentially fragile existence. But the resulting ‘gaudy havoc’ does not just refer to hedonism; it also gestures to Tree’s own distinctive modernist aesthetic, characterized by playful excess; performative identities; kaleidoscopic imagery; tumbling rhythms.”