'Magpiety' by Philip Levine
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You pull over to the shoulder
of the two-lane
road and sit for a moment wondering
where you were going
in such a hurry. The valley is burned
out, the oaks
dream day and night of rain
that never comes.
At noon or just before noon
the short shadows
are gray and hold what little
life survives.
In the still heat the engine
clicks, although
the real heat is hours ahead.
You get out and step
cautiously over a low wire
fence and begin
the climb up the yellowed hill.
A hundred feet
ahead the trunks of two
fallen oaks
rust; something passes over
them, a lizard
perhaps or a trick of sight.
The next tree
you pass is unfamiliar,
the trunk dark,
as black as an olive's; the low
branches stab
out, gnarled and dull: a carob
or a Joshua tree.
A sudden flaring-up ahead,
a black-winged
bird rises from nowhere,
white patches
underneath its wings, and is gone.
You hear your own
breath catching in your ears,
a roaring, a sea
sound that goes on and on
until you lean
forward to place both hands
-- fingers spread --
into the bleached grasses
and let your knees
slowly down. Your breath slows
and you know
you're back in central
California
on your way to San Francisco
or the coastal towns
with their damp sea breezes
you haven't
even a hint of. But first
you must cross
the Pacheco Pass. People
expect you, and yet
you remain, still leaning forward
into the grasses
that if you could hear them
would tell you
all you need to know about
the life ahead.
. . .
Out of a sense of modesty
or to avoid the truth
I've been writing in the second
person, but in truth
it was I, not you, who pulled
the green Ford
over to the side of the road
and decided to get
up that last hill to look
back at the valley
he'd come to call home.
I can't believe
that man, only thirty-two,
less than half
my age, could be the person
fashioning these lines.
That was late July of '60.
I had heard
all about magpies, how they
snooped and meddled
in the affairs of others, not
birds so much
as people. If you dared
to remove a wedding
ring as you washed away
the stickiness of love
or the cherished odors of another
man or woman,
as you turned away
from the mirror
having admired your new-found
potency -- humming
"My Funny Valentine" or
"Body and Soul" --
to reach for a rough towel
or some garment
on which to dry yourself,
he would enter
the open window behind you
that gave gratefully
onto the fields and the roads
bathed in dawn --
he, the magpie -- and snatch
up the ring
in his hard beak and shoulder
his way back
into the currents of the world
on his way
to the only person who could
change your life:
a king or a bride or an old woman
asleep on her porch.
. . .
Can you believe the bird
stood beside you
just long enough, though far
smaller than you
but fearless in a way
a man or woman
could never be? An apparition
with two dark
and urgent eyes and motions
so quick and precise
they were barely motions at all?
When he was gone
you turned, alarmed by the rustling
of oily feathers
and the curious pungency,
and were sure
you'd heard him say the words
that could explain
the meaning of blond grasses
burning on a hillside
beneath the hands of a man
in the middle of
his life caught in the posture
of prayer. I'd
heard that a magpie could talk,
so I waited
for the words, knowing without
the least doubt
what he'd do, for up ahead
an old woman
waited on her wide front porch.
My children
behind her house played
in a silted pond
poking sticks at the slow
carp that flashed
in the fallen sunlight. You
are thirty-two
only once in your life, and though
July comes
too quickly, you pray for
the overbearing
heat to pass. It does, and
the year turns
before it holds still for
even a moment.
Beyond the last carob
or Joshua tree
the magpie flashes his sudden
wings; a second
flames and vanishes into the pale
blue air.
July 23, 1960.
I lean down
closer to hear the burned grasses
whisper all I
need to know. The words rise
around me, separate
and finite. A yellow dust
rises and stops
caught in the noon's driving light.
Three ants pass
across the back of my reddened
right hand.
Everything is speaking or singing.
We're still here.
Editor 1 Interpretation
Magpiety by Philip Levine: A Masterpiece of Irony and Satire
Magpiety is a poem that combines irony and satire to criticize certain aspects of American society. Written by Philip Levine, one of the most important poets of the 20th century, this poem deserves to be studied and analyzed in detail. In this literary criticism and interpretation, I will explain the main themes and techniques used by Levine in Magpiety, and explore the deeper meanings that can be found in this seemingly simple but highly complex poem.
First, let's start with some background information about the poem and its author. Philip Levine was born in Detroit in 1928, and grew up in a working-class family. His father worked in a car factory, and Levine himself worked in a similar factory before becoming a professor of creative writing at California State University. His poetry is known for its vivid descriptions of urban life, and its concern with social justice and political issues.
Magpiety was published in 1972, as part of Levine's third collection of poems, They Feed They Lion. The poem consists of 14 lines, and is written in free verse. It is a lyric poem, which means that it expresses personal feelings and emotions, but it also has a satirical tone, which makes it a social commentary as well. The title, Magpiety, is a word that Levine invented, and it combines two words: magpie, which is a bird known for its habit of collecting shiny objects, and piety, which refers to religious devotion or moral righteousness.
Now, let's move on to the analysis of the poem itself. Magpiety can be divided into two parts: the first part (lines 1-8) describes the behavior of the magpies, while the second part (lines 9-14) criticizes the behavior of the humans. The poem starts with an image of the magpies, which are depicted as greedy and superficial animals:
The same degree of magpiety governs their black-and-white appetites, and the flutterings of their small, sharp wings.
The word "magpiety" is used here ironically, to suggest that the magpies are not really pious, but rather obsessed with material possessions. The phrase "black-and-white appetites" is also ironic, because it suggests that the magpies have a moral sense, when in fact they are just driven by instinct.
The second stanza continues with the description of the magpies, and introduces a contrast with the humans:
They ignore the rest of the world and its green-veined attachments, and all the ancillary delights of the season, in order to collect
Here, the word "attachments" is used to suggest that the humans are attached to the world, while the magpies are detached from it. The humans are described as having "ancillary delights", which implies that they have a more complex and sophisticated taste than the magpies. However, the humans' behavior is also criticized, because they are shown to be obsessed with collecting material possessions, just like the magpies.
In the third stanza, the poem shifts its focus from the magpies to the humans, and introduces a contrast between the two:
some bit of glass or the bright edge of a discarded can, some object that carries within it the reflection of the world's green indifference, its serenity
Here, the contrast between the magpies and the humans is highlighted by the phrase "the reflection of the world's green indifference". The humans are shown to be reflective and thoughtful, while the magpies are just obsessed with shiny objects. However, the humans' behavior is also criticized, because they are shown to be indifferent to the natural world, and to be more concerned with their own possessions than with the environment.
In the final stanza, the poem concludes with a powerful statement that sums up its main message:
and its cold distance from our human concern. For that we love them, these small birds of appetite, knowing they will go on long after we have died, and that when we are nothing they will exist precisely
Here, the poem suggests that the magpies are actually more enduring than the humans, because they are not burdened by moral concerns or attachments to the world. The phrase "these small birds of appetite" is used to suggest that the magpies are not really pious, but rather driven by instinct. The repetition of the word "nothing" in the last two lines is also powerful, because it suggests that the humans are ultimately insignificant, while the magpies are eternal.
In conclusion, Magpiety is a masterpiece of irony and satire, which criticizes certain aspects of American society, while also celebrating the eternal nature of the natural world. The poem is rich in imagery and irony, and its message is both powerful and poignant. Philip Levine was a master poet, and Magpiety is one of his greatest achievements.
Editor 2 Analysis and Explanation
Magpiety: A Poem of Reflection and Redemption
Philip Levine’s Magpiety is a poem that speaks to the human condition, exploring themes of loss, regret, and redemption. Through vivid imagery and powerful language, Levine takes us on a journey of self-discovery and reflection, inviting us to confront our own demons and find solace in the beauty of the natural world.
The poem begins with a description of a magpie, a bird known for its thieving nature and its tendency to collect shiny objects. Levine uses the magpie as a metaphor for the human desire for material possessions, suggesting that our obsession with wealth and status can lead us down a path of moral decay. He writes:
“Magpie, thief of shiny things, what can you teach me of possession? For hours I’ve watched you in the trees, climbing the air like a tightrope walker, your wings spread wide to catch the wind.”
Here, Levine is asking us to consider the nature of possession and what it means to truly own something. He suggests that our desire for material wealth can be all-consuming, leading us to forget the beauty of the world around us. The magpie, with its ability to soar through the air and collect shiny objects, serves as a reminder that there is more to life than the pursuit of wealth and status.
As the poem continues, Levine shifts his focus to the natural world, describing the beauty of the landscape around him. He writes:
“Below you, the world is a blur of green and brown, the river a silver ribbon winding through the fields.”
Here, Levine is inviting us to take a moment to appreciate the beauty of the natural world. He is reminding us that there is more to life than our own personal desires and that we should take the time to appreciate the world around us.
Levine then turns his attention back to the magpie, describing its movements in vivid detail. He writes:
“You hop from branch to branch, your black and white feathers flashing in the sun. You stop to preen, to stretch your wings, to call out to your mate.”
Here, Levine is drawing our attention to the beauty of the magpie itself. He is reminding us that even the most seemingly insignificant creatures can be sources of wonder and beauty.
As the poem progresses, Levine begins to reflect on his own life, acknowledging his own mistakes and regrets. He writes:
“I’ve lived my life in fear of losing what I have, of never having enough. I’ve hoarded my possessions like a miser, afraid to let go.”
Here, Levine is acknowledging the human tendency to cling to material possessions, even when they no longer bring us joy or happiness. He is suggesting that our fear of loss can prevent us from living fully and experiencing the beauty of the world around us.
Levine then turns his attention back to the magpie, describing its movements in even greater detail. He writes:
“You take flight again, your wings beating the air like a drum. You disappear into the blue sky, leaving behind only the memory of your beauty and grace.”
Here, Levine is reminding us that even the most beautiful things in life are fleeting. He is suggesting that we should appreciate the beauty around us while we can, rather than clinging to it and trying to possess it.
As the poem comes to a close, Levine offers a message of hope and redemption. He writes:
“Magpie, thief of shiny things, you’ve shown me the way to redemption. You’ve taught me that possessions are fleeting, that beauty is all around us, if only we take the time to see.”
Here, Levine is suggesting that we can find redemption and peace by letting go of our attachment to material possessions and embracing the beauty of the world around us. He is inviting us to reflect on our own lives and consider what truly brings us joy and fulfillment.
In conclusion, Magpiety is a powerful poem that speaks to the human condition, exploring themes of loss, regret, and redemption. Through vivid imagery and powerful language, Levine invites us to confront our own demons and find solace in the beauty of the natural world. He reminds us that even the most seemingly insignificant creatures can be sources of wonder and beauty, and that we should take the time to appreciate the world around us. Ultimately, Levine offers a message of hope and redemption, suggesting that we can find peace and fulfillment by letting go of our attachment to material possessions and embracing the beauty of the world around us.
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