Classic and Contemporary Poetry: Explained

Denise Levertov’s "The Postcards: A Triptych" presents a rich tapestry of imagery, bringing together disparate elements from different cultures and times into a coherent meditation on existence, divinity, and the human condition. Through this triptych—a set of three panels or images placed side by side—Levertov explores themes of transformation, contemplation, and the intersection of the sacred and the mundane.

The poem begins with the description of the three images in the triptych: "The Minoan Snake Goddess is flanked by a Chardin still-life, somber and tranquil, and by Mahommedan angels brilliantly clothed and with multicolored wings." The Minoan Snake Goddess, an ancient symbol of fertility and power, stands between a still-life painting by Chardin and a scene of Islamic angels. This juxtaposition immediately sets up a contrast between the serene, earthy simplicity of the still-life and the vibrant, otherworldly presence of the angels.

Levertov provides a detailed description of the angelic scene: "angels brilliantly clothed and with multicolored wings, who throng round a fleshcolored horse with a man's face on whose back rides a whiteturbaned being without a face, merely a white, oval disk, and whose hands too are unformed, or hidden in blue sleeves." This surreal image evokes a sense of mystical transformation and the ambiguity of divine intervention. The faceless, whiteturbaned being represents a state of potentiality—an entity on the cusp of becoming human. The angels, each performing different actions, seem to be aiding in this process, suggesting a communal effort in the act of creation or transformation.

The angels' activities—one praying, one bringing a bowl, another a tray, and others indicating the path and debating the outcome—are symbolic of the various aspects of guidance, sustenance, and destiny. The presence of stars and the dark, somber blue of heaven create an atmosphere of celestial significance, highlighting the divine nature of this moment.

In contrast, the still-life by Chardin offers a scene of tranquil domesticity: "a glass of water, a wine-bottle made of glass so dark it is almost black yet not opaque, half-full of perhaps water, and beside these, two courgettes with rough, yellow-green, almost reptilian skins, and a shallow basket of plums." The description of the still-life emphasizes simplicity and the quiet beauty of everyday objects. The fruits and vessels, placed with care, stand in a cool, stone-floored room, suggesting a sense of permanence and stability.

Between these two worlds stands the Minoan Snake Goddess: "She is ivory, her breasts bare, her bare arms braceleted with gold snakes. Their heads uprear towards her in homage." The goddess, with her gold adornments and bare form, represents ancient power and reverence. Her stance, with pursed lips and a frown, suggests contemplation and waiting, perhaps for an augury or divine sign. She embodies both the divine and the priestly, standing as a mediator between the sacred and the earthly.

Levertov concludes by reflecting on the significance of these images: "Without thought I have placed these images over my desk. Under these signs I am living." The placement of these postcards above her desk signifies their importance in her daily life and their influence on her thoughts and actions. Living "under these signs" suggests that the poet finds meaning and guidance in the intersection of these different realms—the divine, the mundane, and the historical.

"The Postcards: A Triptych" by Denise Levertov is a meditation on the interplay between different dimensions of existence. Through the detailed and evocative descriptions of the three images, Levertov explores the themes of transformation, contemplation, and the fusion of the sacred and the everyday. The poem invites readers to reflect on how these elements influence their own lives and perceptions, emphasizing the richness and complexity of the human experience.

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