romanticized in countless poems and declarations—as fleeting and transient. The speaker suggests that as swiftly as we fall into love, we find ourselves drifting away from it. This observation is tenderly tempered with the use of the word “perhaps,” akin to the careful qualification in the first stanza with “some of us.” Through this modest approach, the speaker invites trust and empathy from the reader, more effectively than bold, unyielding assertions might. By incorporating these gentle caveats, the speaker, seemingly exploring these reflections in real-time, acknowledges the potential for error and the validity of other viewpoints—the idea of a "reverse side."

Lines 8–10

The third stanza echoes the beginning of the first with "It's why," indicating the speaker's continued exploration of the same theme. This stanza introduces a more decisive statement, identifying a group that perceives life's complexity distinctively from the "some of us" mentioned earlier. Striking a balance between empathy and critique, the speaker addresses those who cling to a singular perspective, denying any "reverse side." These individuals, the speaker suggests, might be driven by "terror"—eliciting sympathy—or by "simplicity."

The term "simple" carries a spectrum of meanings, some inviting sympathy from the speaker, others casting judgment. When applied to people, "simple" can imply qualities like being genuine or straightforward, yet it can also suggest ignorance or naivety. Given the speaker’s previously expressed humility, readers might infer that both positive and negative connotations are intentional. The speaker's nuanced stance, depicted through the use of "terrified" and "simple," reflects the central argument: every subject harbors multiple, often conflicting characteristics. Additionally, "simple" can describe something lacking complexity or intricacy, underscoring the belief that nothing is devoid of complexity when scrutinized closely.

As each reader interprets "the great mystery" in line 10, Dunn's evocative phrase conjures the philosophical and theological inquiries into life's essence, concepts of morality, the divine, and the purpose of existence. By this juncture, the speaker assumes the reader, guided by the preceding stanzas’ humble tone, will accept the notion of "the great mystery" as a shared, self-evident truth.

Similarly, readers may ponder over who the people are that "latch onto one story, / just one version." This inquiry places the reader amid the moral intricacies the poem discusses, as any characterization of such individuals is laden with charged connotations. Depending on perspective, one person’s "fundamentalist" or "terrorist" could be another’s "saint" or "freedom fighter," much like how "tolerance" might be perceived as "permissiveness."

Lines 11–14

In the fourth stanza, the poem sheds light on those who "latch onto one story" by contrasting them with others who maintain different beliefs—specifically, the "some of us" from the first stanza. The "terrified and the simple" are thus depicted as the antithesis of "the open-minded," suggesting that the speaker views them as closed-minded.

However, the fourth stanza delves beyond defining closed-mindedness. It conveys the struggle of upholding an open-minded attitude, even for those who deem it the ideal way to live. The phrase "Image & afterimage" alludes to the myriad perspectives the epigraph hints at, emphasizing that life would indeed be simpler without the burden of understanding these complexities. This acknowledgment hints at a sympathy for those overwhelmed by this challenge. Yet, the term "a fiction," as used in line 12, critiques those who willingly embrace falsehoods. The examples in line 14—"the snapshot, the lie of a frame"—illustrate this: a photograph and its frame reduce the vast world to something manageable. While a frame is intended to focus the viewer, it becomes a "lie" if one forgets or denies the boundless complexity extending beyond its borders.

In the fourth stanza of the poem, another significant "poetic event" quietly unfolds, one that is subtle yet profound: the diminutive word "oh" in line 11. This word serves as an "interjection" or an "exclamation," commonly appearing in "lyric" poetry. Unlike narrative poetry, which tells a story, lyric poetry prioritizes the expression of emotion through "musical language." Here, the lyric poem leans on the sheer sounds of poetry to touch the reader's emotions, transcending mere literal understanding. Up until line 11, "The Reverse Side" employs straightforward, conversational language typical of a "meditative" poem. But with the introduction of "oh," the poem transitions into lyricism. Humans naturally say "oh" or "ah" to underscore the depth of our feelings. It's a word devoid of inherent meaning, relying solely on its sound to communicate emotion. By employing it, Dunn’s speaker transitions from merely thinking about the world's complexity to feeling the challenges it imposes on human life.

Lines 15–18

A poem that skillfully intertwines lyric and meditative elements often remains in the realm of "expressing feeling" once it ventures there, seldom returning to mere intellectual contemplation. "The Reverse Side" adheres to this pattern; the final stanza poses a question tinged with the unknowable. The speaker's intent, in posing such a query, is to articulate the emotional turmoil faced when delving into "the reverse side." By questioning "how do we not go crazy," the speaker implies that the act of questioning itself might safeguard the sanity of those who are "compelled / to live with the circle, the ellipsis, the word / not yet written."

The poem concludes with evocative images—"the circle, the ellipsis, the word / not yet written"—which echo the enigmatic quality found in the epigraph. Each of these symbols carries a multitude of meanings, reflecting the speaker's ruminations on the morally ambiguous essence of human existence.

The circle has long been a symbol in human culture, representing unity, balance, equality, void, and perpetuity. It was the shape of King Arthur's legendary table, and likewise, the configuration for the 1973 Paris peace talks that ultimately ended the U.S. involvement in the Vietnam War. Dunn’s circle, which we are "compelled / to live with," signifies a level playing field where no single perspective prevails, symbolizing openness and a readiness to consider diverse viewpoints.

An ellipsis, a punctuation mark, signifies omissions in text to focus attention on what remains. For Dunn’s speaker, the ellipsis might symbolize thoughts or emotions that are challenging to articulate and, once expressed, are difficult to confront or endure.

The "word / not yet written" remains unwritten for various reasons. As suggested by the ellipsis, it might be challenging to articulate due to potential offense or danger. The writer might lack the emotional, intellectual, or spiritual capacity to capture it. The word might not yet exist, awaiting discovery or invention.

Collectively, "the circle, the ellipsis, the word / not yet written" encapsulate the external pressures on those who wish to remain receptive to the world's intricate complexities. Echoing the lament of the first stanza's "some of us," the speaker asks, "how do we not go crazy." The question resounds as a cry, a lamentation, an echoing groan that builds on the "oh" of line 11, serving as a means to alleviate the tension of the expressed dilemma.