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Classic and Contemporary Poetry: Explained | |||
Philip Levine's "Burial Rites" is a poignant meditation on death, memory, and the cyclical nature of life. Through evocative imagery and reflective language, Levine contemplates the inevitability of returning to one's origins and the transformation that comes with the final surrender to the earth. The poem opens with a stark declaration: "Everyone comes back here to die / as I will soon." This line sets a somber and reflective tone, establishing the speaker's acceptance of death as an inevitable return to a familiar place. The phrase "half dead to begin with" suggests a setting that already carries the weight of loss and decay, underscoring the inevitability of death in a place marked by its own mortality. Levine describes a rare morning of rain, where the "low sky / hoarding its riches" releases only a few "mock tears," further emphasizing the harsh and unyielding nature of the environment. The "hard ground / accepts nothing," reflecting the resistance and finality of the earth that will eventually receive the speaker. This image of a reluctant earth accepting the dead sets the stage for the poem's exploration of burial and the intertwining of life and death. The speaker recounts burying his mother's ashes beside a lilac six years prior, a lilac that has now grown taller than him. This act of burial and the subsequent thriving of the lilac and a rosebush "stuck into her dirt" symbolize the continuation of life through nature, even as human life ends. The lilac and rosebush, unlike humans, thrive in the earth, their silent resilience contrasting with human frailty. The blossoms that "never unfurl" and keep their knowledge to themselves until the elements strip them away mirror the silent, hidden truths of life and death. Levine introduces the image of a neighbor's cat, which "shits / daily on the paths and then hides / deep in the jungle of the weeds," refusing to purr. This defiant, indifferent presence of the cat reinforces the theme of life persisting in its own way, detached from human concerns and emotions. The cat's indifference to its surroundings underscores the notion that whatever exists here exists solely in its own right, devoid of sentimentality. The speaker reflects on the appropriateness of ending up "beside / the woman who bore me," with the act of shoveling "into the dirt whatever's left" signifying the final physical connection between mother and child. The concept of leaving "only a name for some- / one who wants it" introduces the idea of identity detached from the self, reduced to a mere label for future generations. In a powerful contemplation, the speaker envisions his name "no longer a portion / of me," free from the complexities of life and memory. The name, no longer "inflated / or bruised," becomes a simple marker, devoid of the rich compost of human experience. The imagery of "bone shards, / dirt, kitty litter, wood ashes, / the roots of the eucalyptus" planted decades earlier encapsulates the physical remnants of life, reduced to elemental components that return to the earth. The final lines express a yearning for liberation: "a tiny me taking nothing, / giving nothing, and free at last." This concluding sentiment reflects a desire for release from the burdens and entanglements of life, achieving a state of pure existence, unencumbered by memory or identity. "Burial Rites" is a deeply reflective poem that explores the themes of death, memory, and the natural cycle of life. Levine's use of vivid imagery and contemplative language creates a powerful meditation on the inevitability of returning to the earth and the ultimate liberation that comes with accepting one's place in the natural order. Through this exploration, Levine invites readers to consider their own mortality and the ways in which life persists and transforms beyond individual existence.
| Discover our Poem Explanations and Poet Analyses!Other Poems of Interest...DOUBLE ELEGY by MICHAEL S. HARPER A FRIEND KILLED IN THE WAR by ANTHONY HECHT FOR JAMES MERRILL: AN ADIEU by ANTHONY HECHT TARANTULA: OR THE DANCE OF DEATH by ANTHONY HECHT CHAMPS D?ÇÖHONNEUR by ERNEST HEMINGWAY NOTE TO REALITY by TONY HOAGLAND |
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