Classic and Contemporary Poetry: Explained

George Oppen's poem "Five Poems About Poetry: 5. From Virgil" draws upon classical references and philosophical reflections to explore the nature of the mind, art, and the human condition. The poem's title and its closing lines evoke the work of the Roman poet Virgil, grounding Oppen's meditation in a rich literary and cultural tradition. Through a blend of existential questioning and classical allusion, the poem probes the roles of thought, creativity, and human folly in the broader context of existence.

The poem opens with a striking and somewhat cryptic declaration: "I, says the buzzard, / I—". The buzzard, a bird often associated with death and scavenging, represents a voice of stark realism or even cynicism. The repetition of "I" suggests a self-assertion or a claim to a particular perspective. This could imply the buzzard's detachment from the more idealistic or optimistic aspects of life, reinforcing its role as a symbol of harsh, unvarnished truth.

The poem then shifts to a reflection on the mind: "Mind / Has evolved / Too long." This line suggests a weariness or disillusionment with the progression of human thought, as if the mind's development has led to complexities or problems that have outstripped their usefulness. The following line, "If ‘life is a search / For advantage,’" introduces the idea that if the mind’s primary purpose is merely to seek advantage—whether in survival, power, or success—then its evolution may have taken a misguided turn. This utilitarian view of life is called into question, implying that such a pursuit might ultimately lead to a dead end or moral bankruptcy.

The poem continues with a probing question: "‘At whose behest / Does the mind think?’" This inquiry challenges the notion of autonomous thought, suggesting that the mind's workings might be influenced or dictated by forces beyond individual control, whether social, biological, or metaphysical. The following reflection, "Art / Also is not good / For us," introduces a critique of art, asserting that it too might not be beneficial unless it serves a higher purpose.

Oppen then introduces the figure of "the fool / Persisting / In his folly," who, paradoxically, might "rescue us." This allusion to the proverb "the fool persists in his folly until he becomes wise" suggests that there is value in the seemingly foolish or irrational aspects of human behavior. The fool's persistence may lead to a kind of enlightenment or salvation that more rational approaches fail to achieve. This idea resonates with the concept of art as a potentially redemptive force, capable of "rescuing" humanity by tapping into deeper truths or higher realities.

The poem concludes with a direct reference to Virgil, particularly from his "Eclogues": "Parve puer . . . ‘Begin, / O small boy, / To be born; / On whom his parents have not smiled / No god thinks worthy of his table, / No goddess of her bed’." This passage speaks to the importance of acceptance and love in the formation of human worth. The idea that a child on whom "his parents have not smiled" is not deemed worthy by the gods or goddesses underscores the significance of early nurturing and the social bonds that confer value upon individuals. Without such affirmation, the child (and by extension, humanity) may be excluded from divine favor and human fulfillment.

In "From Virgil," Oppen weaves together classical references, existential inquiry, and a critique of modern life. The poem questions the value of human thought and creativity when driven solely by self-interest, and it suggests that true redemption or understanding may come from embracing the irrational or the seemingly foolish. The closing lines, drawn from Virgil, emphasize the importance of love and acceptance in the formation of identity and worth, offering a poignant counterpoint to the earlier cynicism. Ultimately, the poem invites readers to reflect on the deeper purposes of life, art, and thought, urging a reconsideration of what truly matters in the human experience.

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