Sparrow

1
(No Transcript)
2
Sparrow
3
Sparrow

• Norman MacCaig

4
Hes no artist.His taste in clothes is more
dowdy than gaudy.And his nest that
blackbird, writing pretty scrolls on the air
with the gold nib of his beak,would call it a
slum.
5
Hes no artist.His taste in clothes is more
dowdy than gaudy.And his nest that
blackbird, writing pretty scrolls on the air
with the gold nib of his beak,would call it a
slum.
6
Hes no artist.His taste in clothes is more
dowdy than gaudy.And his nest that
blackbird, writing pretty scrolls on the air
with the gold nib of his beak,would call it a
slum.
Negative comment. First thing we learn about the
sparrow is something he is not.
7
Hes no artist.His taste in clothes is more
dowdy than gaudy.And his nest that
blackbird, writing pretty scrolls on the air
with the gold nib of his beak,would call it a
slum.
This sets the tone for the rest of the poem
8
Hes no artist.His taste in clothes is more
dowdy than gaudy.And his nest that
blackbird, writing pretty scrolls on the air
with the gold nib of his beak,would call it a
slum.
artist has connotations of colour, creativity,
dexterity, finesse, flamboyance, etc
9
Hes no artist.His taste in clothes is more
dowdy than gaudy.And his nest that
blackbird, writing pretty scrolls on the air
with the gold nib of his beak,would call it a
slum.
Right from the opening line, the sparrows
skills are deemed unworthy.
10
Hes no artist.His taste in clothes is more
dowdy than gaudy.And his nest that
blackbird, writing pretty scrolls on the air
with the gold nib of his beak,would call it a
slum.
11
Hes no artist.His taste in clothes is more
dowdy than gaudy.And his nest that
blackbird, writing pretty scrolls on the air
with the gold nib of his beak,would call it a
slum.
12
Hes no artist.His taste in clothes is more
dowdy than gaudy.And his nest that
blackbird, writing pretty scrolls on the air
with the gold nib of his beak,would call it a
slum.
Another negative comment. Now his appearance is
being criticised
13
Hes no artist.His taste in clothes is more
dowdy than gaudy.And his nest that
blackbird, writing pretty scrolls on the air
with the gold nib of his beak,would call it a
slum.
His clothes are his feathers.
14
Hes no artist.His taste in clothes is more
dowdy than gaudy.And his nest that
blackbird, writing pretty scrolls on the air
with the gold nib of his beak,would call it a
slum.
They are referred to as more dowdy than
gaudy. Dowdy not stylish drab old-fashioned
unfashionably dressed.
15
Hes no artist.His taste in clothes is more
dowdy than gaudy.And his nest that
blackbird, writing pretty scrolls on the air
with the gold nib of his beak,would call it a
slum.
They are referred to as more dowdy than
gaudy. Gaudy extravagantly bright or showy
ostentatiously dressed.
16
Hes no artist.His taste in clothes is more
dowdy than gaudy.And his nest that
blackbird, writing pretty scrolls on the air
with the gold nib of his beak,would call it a
slum.
He is dressed in dull colours of brown and grey.
17
Hes no artist.His taste in clothes is more
dowdy than gaudy.And his nest that
blackbird, writing pretty scrolls on the air
with the gold nib of his beak,would call it a
slum.
He is hardly the most fashionable of creatures.
18
(No Transcript)
19
more dowdy
20
(No Transcript)
21
than gaudy
22
Hes no artist.His taste in clothes is more
dowdy than gaudy.And his nest that
blackbird, writing pretty scrolls on the air
with the gold nib of his beak,would call it a
slum.
Keep in mind the negative connotations of the
word gaudy for later in the poem
23
Hes no artist.His taste in clothes is more
dowdy than gaudy.And his nest that
blackbird, writing pretty scrolls on the air
with the gold nib of his beak,would call it a
slum.
24
Hes no artist.His taste in clothes is more
dowdy than gaudy.And his nest that
blackbird, writing pretty scrolls on the air
with the gold nib of his beak,would call it a
slum.
25
Hes no artist.His taste in clothes is more
dowdy than gaudy.And his nest that
blackbird, writing pretty scrolls on the air
with the gold nib of his beak,would call it a
slum.
Now the sparrows home is criticised too
26
Hes no artist.His taste in clothes is more
dowdy than gaudy.And his nest that
blackbird, writing pretty scrolls on the air
with the gold nib of his beak,would call it a
slum.
Now the sparrows home is criticised too
27
Hes no artist.His taste in clothes is more
dowdy than gaudy.And his nest that
blackbird, writing pretty scrolls on the air
with the gold nib of his beak,would call it a
slum.
The birds home, according to the blackbird at
least, is referred to as a slum.
28
Hes no artist.His taste in clothes is more
dowdy than gaudy.And his nest that
blackbird, writing pretty scrolls on the air
with the gold nib of his beak,would call it a
slum.
Slum a squalid section of a city, characterised
by inferior living conditions.
29
Hes no artist.His taste in clothes is more
dowdy than gaudy.And his nest that
blackbird, writing pretty scrolls on the air
with the gold nib of his beak,would call it a
slum.
The image of the sparrows home is therefore one
of poverty, squalor and decrepitude.
30
Hes no artist.His taste in clothes is more
dowdy than gaudy.And his nest that
blackbird, writing pretty scrolls on the air
with the gold nib of his beak,would call it a
slum.
Only the poorest, most common bird would live
there. A blackbird wouldnt want to be
associated with such a habitat.
31
Hes no artist.His taste in clothes is more
dowdy than gaudy.And his nest that
blackbird, writing pretty scrolls on the air
with the gold nib of his beak,would call it a
slum.
Remember, the nest is the handiwork of the
sparrow himself. Therefore, his ability to build
a home is being derided too.
32
Hes no artist.His taste in clothes is more
dowdy than gaudy.And his nest that
blackbird, writing pretty scrolls on the air
with the gold nib of his beak,would call it a
slum.
33
Hes no artist.His taste in clothes is more
dowdy than gaudy.And his nest that
blackbird, writing pretty scrolls on the air
with the gold nib of his beak,would call it a
slum.
Of course, this isnt the only way in which the
sparrow and blackbird differ
34
Hes no artist.His taste in clothes is more
dowdy than gaudy.And his nest that
blackbird, writing pretty scrolls on the air
with the gold nib of his beak,would call it a
slum.
The male blackbird is, unsurprisingly, fully
clothed in black. Its beak is a bright
orange-yellow colour.
35
Hes no artist.His taste in clothes is more
dowdy than gaudy.And his nest that
blackbird, writing pretty scrolls on the air
with the gold nib of his beak,would call it a
slum.
This, according to the RSPB, make adult male
blackbirds one of the most striking garden birds.
36
Hes no artist.His taste in clothes is more
dowdy than gaudy.And his nest that
blackbird, writing pretty scrolls on the air
with the gold nib of his beak,would call it a
slum.
As a result, the metaphor of the blackbirds beak
being the gold nib of a pen is understandable.
37
Hes no artist.His taste in clothes is more
dowdy than gaudy.And his nest that
blackbird, writing pretty scrolls on the air
with the gold nib of his beak,would call it a
slum.
A nib is the end of a fountain pen.
38
Hes no artist.His taste in clothes is more
dowdy than gaudy.And his nest that
blackbird, writing pretty scrolls on the air
with the gold nib of his beak,would call it a
slum.

39
Hes no artist.His taste in clothes is more
dowdy than gaudy.And his nest that
blackbird, writing pretty scrolls on the air
with the gold nib of his beak,would call it a
slum.
The movement of the bird, as it flies through the
air, is comparable to a pen writing decoratively
in the air.
40
Hes no artist.His taste in clothes is more
dowdy than gaudy.And his nest that
blackbird, writing pretty scrolls on the air
with the gold nib of his beak,would call it a
slum.
The image tells us a lot about the blackbird
itself
41
Hes no artist.His taste in clothes is more
dowdy than gaudy.And his nest that
blackbird, writing pretty scrolls on the air
with the gold nib of his beak,would call it a
slum.
The comparison to a fountain pen, for example,
which is seen more as a luxury item and used by
many as a status symbol.
42
Hes no artist.His taste in clothes is more
dowdy than gaudy.And his nest that
blackbird, writing pretty scrolls on the air
with the gold nib of his beak,would call it a
slum.
A biro, for example, is much cheaper and
efficient but doesnt project a superior image.
43
Hes no artist.His taste in clothes is more
dowdy than gaudy.And his nest that
blackbird, writing pretty scrolls on the air
with the gold nib of his beak,would call it a
slum.
Its a case of style over substance. The value
is judged on appearance and status, not ability
or capability
44
Hes no artist.His taste in clothes is more
dowdy than gaudy.And his nest that
blackbird, writing pretty scrolls on the air
with the gold nib of his beak,would call it a
slum.
which is key to the central concern of the
entire poem.
45
Hes no artist.His taste in clothes is more
dowdy than gaudy.And his nest that
blackbird, writing pretty scrolls on the air
with the gold nib of his beak,would call it a
slum.
The fact that the nib is gold accentuates the
idea of affluence of the blackbird.
46
Hes no artist.His taste in clothes is more
dowdy than gaudy.And his nest that
blackbird, writing pretty scrolls on the air
with the gold nib of his beak,would call it a
slum.
A bird with gold certainly wouldnt be seen dead
in a slum
47
Hes no artist.His taste in clothes is more
dowdy than gaudy.And his nest that
blackbird, writing pretty scrolls on the air
with the gold nib of his beak,would call it a
slum.
Fountain pens are used for calligraphy
(decorative handwriting).
48
Hes no artist.His taste in clothes is more
dowdy than gaudy.And his nest that
blackbird, writing pretty scrolls on the air
with the gold nib of his beak,would call it a
slum.
Calligraphy itself is considered an art. This is
another direct contrast to the sparrow (hes no
artist).
49
Hes no artist.His taste in clothes is more
dowdy than gaudy.And his nest that
blackbird, writing pretty scrolls on the air
with the gold nib of his beak,would call it a
slum.
The writing the blackbird produces is ornate and
attractive.
50
Hes no artist.His taste in clothes is more
dowdy than gaudy.And his nest that
blackbird, writing pretty scrolls on the air
with the gold nib of his beak,would call it a
slum.
Calligraphy is used on wedding invitations,
award, certificates, etc. because of its beauty,
but also to emphasise the importance of the
contents.
51
Hes no artist.His taste in clothes is more
dowdy than gaudy.And his nest that
blackbird, writing pretty scrolls on the air
with the gold nib of his beak,would call it a
slum.
Pretty scrolls continues the idea of ornate,
decorative writing.
52
Hes no artist.His taste in clothes is more
dowdy than gaudy.And his nest that
blackbird, writing pretty scrolls on the air
with the gold nib of his beak,would call it a
slum.
Scrolls are not written on for everyday
purposes. Again, form over function.
53
Hes no artist.His taste in clothes is more
dowdy than gaudy.And his nest that
blackbird, writing pretty scrolls on the air
with the gold nib of his beak,would call it a
slum.
Also, the first thing I think of when I see the
word scroll is the certificate you are awarded
at your graduation ceremony.
54
Hes no artist.His taste in clothes is more
dowdy than gaudy.And his nest that
blackbird, writing pretty scrolls on the air
with the gold nib of his beak,would call it a
slum.

55
Hes no artist.His taste in clothes is more
dowdy than gaudy.And his nest that
blackbird, writing pretty scrolls on the air
with the gold nib of his beak,would call it a
slum.
Hes no artist.His taste in clothes is more
dowdy than gaudy.And his nest that
blackbird, writing pretty scrolls on the air
with the gold nib of his beak,would call it a
slum.
Hes no artist.His taste in clothes is more
dowdy than gaudy.And his nest that
blackbird, writing pretty scrolls on the air
with the gold nib of his beak,would call it a
slum.
Awards and qualifications for academic success
are something that we will return to later in the
poem
56
Hes no artist.His taste in clothes is more
dowdy than gaudy.And his nest that
blackbird, writing pretty scrolls on the air
with the gold nib of his beak,would call it a
slum.
57
Hes no artist.His taste in clothes is more
dowdy than gaudy.And his nest that
blackbird, writing pretty scrolls on the air
with the gold nib of his beak,would call it a
slum.
This stanza begins by making the sparrow seem
insignificant.
58
Hes no artist.His taste in clothes is more
dowdy than gaudy.And his nest that
blackbird, writing pretty scrolls on the air
with the gold nib of his beak,would call it a
slum.
He isnt deft or elegant in his movements.
59
Hes no artist.His taste in clothes is more
dowdy than gaudy.And his nest that
blackbird, writing pretty scrolls on the air
with the gold nib of his beak,would call it a
slum.
His feathers are from bright or decorative.
60
Hes no artist.His taste in clothes is more
dowdy than gaudy.And his nest that
blackbird, writing pretty scrolls on the air
with the gold nib of his beak,would call it a
slum.
His nesting habits are decidedly basic.
61
Hes no artist.His taste in clothes is more
dowdy than gaudy.And his nest that
blackbird, writing pretty scrolls on the air
with the gold nib of his beak,would call it a
slum.
The message given is that there is nothing
noteworthy or glamorous about the sparrow at all.
62
Hes no artist.His taste in clothes is more
dowdy than gaudy.And his nest that
blackbird, writing pretty scrolls on the air
with the gold nib of his beak,would call it a
slum.
The colloquial, informal hes no artist
introduction seems appropriate for the sparrow.
63
Hes no artist.His taste in clothes is more
dowdy than gaudy.And his nest that
blackbird, writing pretty scrolls on the air
with the gold nib of his beak,would call it a
slum.
The sparrow is common.
64
Hes no artist.His taste in clothes is more
dowdy than gaudy.And his nest that
blackbird, writing pretty scrolls on the air
with the gold nib of his beak,would call it a
slum.
He certainly doesnt command, or perhaps demand,
attention like the blackbird does.
65
Hes no artist.His taste in clothes is more
dowdy than gaudy.And his nest that
blackbird, writing pretty scrolls on the air
with the gold nib of his beak,would call it a
slum.
66
To stalk solitary on lawns, to sing solitary in
midnight trees, to glide solitary over grey
Atlantics not for him hed rathera punch-up
in the gutter.
67
To stalk solitary on lawns, to sing solitary in
midnight trees, to glide solitary over grey
Atlantics not for him hed rathera punch-up
in the gutter.
A large number of techniques are used throughout
this second stanza
68
To stalk solitary on lawns, to sing solitary in
midnight trees, to glide solitary over grey
Atlantics not for him hed rathera punch-up
in the gutter.
69
To stalk solitary on lawns, to sing solitary in
midnight trees, to glide solitary over grey
Atlantics not for him hed rathera punch-up
in the gutter.
70
To stalk solitary on lawns, to sing solitary in
midnight trees, to glide solitary over grey
Atlantics not for him hed rathera punch-up
in the gutter.
Unlike the opening to the first stanza, when we
were introduced to the sparrow, there is a
formality to the language used here.
71
To stalk solitary on lawns, to sing solitary in
midnight trees, to glide solitary over grey
Atlantics not for him hed rathera punch-up
in the gutter.
Repetition is prevalent through these three lines
72
To stalk solitary on lawns, to sing solitary in
midnight trees, to glide solitary over grey
Atlantics not for him hed rathera punch-up
in the gutter.
Each line begins in the same way
73
To stalk solitary on lawns, to sing solitary in
midnight trees, to glide solitary over grey
Atlantics not for him hed rathera punch-up
in the gutter.
Each line begins in the same way
74
To stalk solitary on lawns, to sing solitary in
midnight trees, to glide solitary over grey
Atlantics not for him hed rathera punch-up
in the gutter.
Each line begins in the same way
75
To stalk solitary on lawns, to sing solitary in
midnight trees, to glide solitary over grey
Atlantics not for him hed rathera punch-up
in the gutter.
Each line begins in the same way
76
To stalk solitary on lawns, to sing solitary in
midnight trees, to glide solitary over grey
Atlantics not for him hed rathera punch-up
in the gutter.
Each line begins with infinitives (basic form of
a verb to run, to fly, etc).
77
To stalk solitary on lawns, to sing solitary in
midnight trees, to glide solitary over grey
Atlantics not for him hed rathera punch-up
in the gutter.
The verbs used are grand and graceful.
78
To stalk solitary on lawns, to sing solitary in
midnight trees, to glide solitary over grey
Atlantics not for him hed rathera punch-up
in the gutter.
To stalk is to walk in a stiff, arrogant way.
Therefore, there are connotations of superiority
and grandeur.
79
To stalk solitary on lawns, to sing solitary in
midnight trees, to glide solitary over grey
Atlantics not for him hed rathera punch-up
in the gutter.
To sing is obviously a graceful, artistic
activity.
80
To stalk solitary on lawns, to sing solitary in
midnight trees, to glide solitary over grey
Atlantics not for him hed rathera punch-up
in the gutter.
To glide is to move in a smooth, effortless
way. Again, a very graceful, artistic movement.
Theres no frantic flapping of wings from these
birds.
81
To stalk solitary on lawns, to sing solitary in
midnight trees, to glide solitary over grey
Atlantics not for him hed rathera punch-up
in the gutter.
The repetition of these infinitives serve as a
contrast to the sparrow being no artist.
82
To stalk solitary on lawns, to sing solitary in
midnight trees, to glide solitary over grey
Atlantics not for him hed rathera punch-up
in the gutter.
Continuing the parallel structure of these three
lines, the word solitary follows each of the
infinitives.
83
To stalk solitary on lawns, to sing solitary in
midnight trees, to glide solitary over grey
Atlantics not for him hed rathera punch-up
in the gutter.
Continuing the parallel structure of these three
lines, the word solitary follows each of the
infinitives.
84
To stalk solitary on lawns, to sing solitary in
midnight trees, to glide solitary over grey
Atlantics not for him hed rathera punch-up
in the gutter.
Continuing the parallel structure of these three
lines, the word solitary follows each of the
infinitives.
85
To stalk solitary on lawns, to sing solitary in
midnight trees, to glide solitary over grey
Atlantics not for him hed rathera punch-up
in the gutter.
Continuing the parallel structure of these three
lines, the word solitary follows each of the
infinitives.
86
To stalk solitary on lawns, to sing solitary in
midnight trees, to glide solitary over grey
Atlantics not for him hed rathera punch-up
in the gutter.
Solitary alone without companions.
87
To stalk solitary on lawns, to sing solitary in
midnight trees, to glide solitary over grey
Atlantics not for him hed rathera punch-up
in the gutter.
The repetition of the word solitary emphasises
the isolation and aloofness of certain birds.
88
To stalk solitary on lawns, to sing solitary in
midnight trees, to glide solitary over grey
Atlantics not for him hed rathera punch-up
in the gutter.
They do not wish to be seen with other birds.
They want to command attention in their own right.
89
To stalk solitary on lawns, to sing solitary in
midnight trees, to glide solitary over grey
Atlantics not for him hed rathera punch-up
in the gutter.
They may be graceful and elegant, but these birds
are left isolated as a result of their attitude.
90
To stalk solitary on lawns, to sing solitary in
midnight trees, to glide solitary over grey
Atlantics not for him hed rathera punch-up
in the gutter.
They may be graceful and elegant, but these birds
are left isolated as a result of their attitude.
91
To stalk solitary on lawns, to sing solitary in
midnight trees, to glide solitary over grey
Atlantics not for him hed rathera punch-up
in the gutter.
92
To stalk solitary on lawns, to sing solitary in
midnight trees, to glide solitary over grey
Atlantics not for him hed rathera punch-up
in the gutter.
The parallel structure continues with the
repetition of prepositional phrases
93
To stalk solitary on lawns, to sing solitary in
midnight trees, to glide solitary over grey
Atlantics not for him hed rathera punch-up
in the gutter.
The parallel structure continues with the
repetition of prepositional phrases
94
To stalk solitary on lawns, to sing solitary in
midnight trees, to glide solitary over grey
Atlantics not for him hed rathera punch-up
in the gutter.
The parallel structure continues with the
repetition of prepositional phrases
95
To stalk solitary on lawns, to sing solitary in
midnight trees, to glide solitary over grey
Atlantics not for him hed rathera punch-up
in the gutter.
The parallel structure continues with the
repetition of prepositional phrases
96
To stalk solitary on lawns, to sing solitary in
midnight trees, to glide solitary over grey
Atlantics not for him hed rathera punch-up
in the gutter.
Obviously, these are three of the locations where
the stalking, singing, gliding birds can be
found.
97
To stalk solitary on lawns, to sing solitary in
midnight trees, to glide solitary over grey
Atlantics not for him hed rathera punch-up
in the gutter.
To stalk solitary on lawns, to sing solitary in
midnight trees, to glide solitary over grey
Atlantics not for him hed rathera punch-up
in the gutter.
To stalk solitary on lawns, to sing solitary in
midnight trees, to glide solitary over grey
Atlantics not for him hed rathera punch-up
in the gutter.
However, it is notable that these areas grow in
size
98
To stalk solitary on lawns, to sing solitary in
midnight trees, to glide solitary over grey
Atlantics not for him hed rathera punch-up
in the gutter.
The ever-increasing areas emphasise the isolation
of these birds
99
To stalk solitary on lawns, to sing solitary in
midnight trees, to glide solitary over grey
Atlantics not for him hed rathera punch-up
in the gutter.
Being in solitude on a lawn is one thing, being
in solitude while gliding over something as vast
as the Atlantic is quite another.
100
To stalk solitary on lawns, to sing solitary in
midnight trees, to glide solitary over grey
Atlantics not for him hed rathera punch-up
in the gutter.
To stalk solitary on lawns, to sing solitary in
midnight trees, to glide solitary over grey
Atlantics not for him hed rathera punch-up
in the gutter.
The greater the area, the greater the isolation
is
101
To stalk solitary on lawns, to sing solitary in
midnight trees, to glide solitary over grey
Atlantics not for him hed rathera punch-up
in the gutter.
102
To stalk solitary on lawns, to sing solitary in
midnight trees, to glide solitary over grey
Atlantics not for him hed rathera punch-up
in the gutter.
103
To stalk solitary on lawns, to sing solitary in
midnight trees, to glide solitary over grey
Atlantics not for him hed rathera punch-up
in the gutter.
As mentioned earlier, the language used to refer
to these other birds is very formal.
104
To stalk solitary on lawns, to sing solitary in
midnight trees, to glide solitary over grey
Atlantics not for him hed rathera punch-up
in the gutter.
These lines appear to be building to a climax.
Each line increases in length and the
descriptions build from stalking over a lawn to
gliding over the Atlantic ocean.
105
To stalk solitary on lawns, to sing solitary in
midnight trees, to glide solitary over grey
Atlantics not for him hed rathera punch-up
in the gutter.
At this point, a dash is used
106
To stalk solitary on lawns, to sing solitary in
midnight trees, to glide solitary over grey
Atlantics not for him hed rathera punch-up
in the gutter.
At this point, a dash is used
107
To stalk solitary on lawns, to sing solitary in
midnight trees, to glide solitary over grey
Atlantics not for him hed rathera punch-up
in the gutter.
The dash introduces a dramatic pause, as though
the finale is going to be even grander than the
bird that glides over the Atlantic
108
To stalk solitary on lawns, to sing solitary in
midnight trees, to glide solitary over grey
Atlantics not for him hed rathera punch-up
in the gutter.
Instead, what follows the dramatic pause is a
huge anti-climax, as the focus returns to the
humble sparrow
109
To stalk solitary on lawns, to sing solitary in
midnight trees, to glide solitary over grey
Atlantics not for him hed rathera punch-up
in the gutter.
Instead, what follows the dramatic pause is a
huge anti-climax, as the focus returns to the
humble sparrow
110
To stalk solitary on lawns, to sing solitary in
midnight trees, to glide solitary over grey
Atlantics not for him hed rathera punch-up
in the gutter.
After the grand descriptions of actions of other
birds, what follows is a blunt, simple statement
of not for him.
111
To stalk solitary on lawns, to sing solitary in
midnight trees, to glide solitary over grey
Atlantics not for him hed rathera punch-up
in the gutter.
This is extremely effective, as it reflects the
simple nature of the sparrow itself. There is
nothing formal or grand about the sparrow, so why
should the language be any different?
112
To stalk solitary on lawns, to sing solitary in
midnight trees, to glide solitary over grey
Atlantics not for him hed rathera punch-up
in the gutter.
113
To stalk solitary on lawns, to sing solitary in
midnight trees, to glide solitary over grey
Atlantics not for him hed rathera punch-up
in the gutter.
114
To stalk solitary on lawns, to sing solitary in
midnight trees, to glide solitary over grey
Atlantics not for him hed rathera punch-up
in the gutter.
To further emphasise the contrast between the
grander birds and the sparrow, MacCaig offers a
description of what the sparrow can be found
doing
115
To stalk solitary on lawns, to sing solitary in
midnight trees, to glide solitary over grey
Atlantics not for him hed rathera punch-up
in the gutter.
We are told that the sparrow would rather be
involved in a punch-up in the gutter.
116
To stalk solitary on lawns, to sing solitary in
midnight trees, to glide solitary over grey
Atlantics not for him hed rathera punch-up
in the gutter.
The sparrow would happily be involved in a fight.
It isnt something he would flee from in fear.
He would happily scrap for what he believes is
necessary.
117
To stalk solitary on lawns, to sing solitary in
midnight trees, to glide solitary over grey
Atlantics not for him hed rathera punch-up
in the gutter.
There could not be a greater contrast used here.
118
To stalk solitary on lawns, to sing solitary in
midnight trees, to glide solitary over grey
Atlantics not for him hed rathera punch-up
in the gutter.
The other birds actions (stalking singing and
gliding) are grand and graceful
119
To stalk solitary on lawns, to sing solitary in
midnight trees, to glide solitary over grey
Atlantics not for him hed rathera punch-up
in the gutter.
while the sparrows actions are violent and
coarse.
120
To stalk solitary on lawns, to sing solitary in
midnight trees, to glide solitary over grey
Atlantics not for him hed rathera punch-up
in the gutter.
The other birds actions are described using
formal language
121
To stalk solitary on lawns, to sing solitary in
midnight trees, to glide solitary over grey
Atlantics not for him hed rathera punch-up
in the gutter.
while the sparrows actions are described using
a colloquial term punch-up.
122
To stalk solitary on lawns, to sing solitary in
midnight trees, to glide solitary over grey
Atlantics not for him hed rathera punch-up
in the gutter.
123
To stalk solitary on lawns, to sing solitary in
midnight trees, to glide solitary over grey
Atlantics not for him hed rathera punch-up
in the gutter.
Even the location is in sharp contrast to the
earlier references
124
To stalk solitary on lawns, to sing solitary in
midnight trees, to glide solitary over grey
Atlantics not for him hed rathera punch-up
in the gutter.
Even the location is in sharp contrast to the
earlier references
125
To stalk solitary on lawns, to sing solitary in
midnight trees, to glide solitary over grey
Atlantics not for him hed rathera punch-up
in the gutter.
While a gutter is simply a channel at the edge of
a street or road, or a trough under a roof for
draining rainwater (places where it would be
quite conceivable to find a sparrow fighting
other birds for scraps of food)
126
To stalk solitary on lawns, to sing solitary in
midnight trees, to glide solitary over grey
Atlantics not for him hed rathera punch-up
in the gutter.
it also has very negative connotations of a
dirty, degrading place where the lowest classes
of humanity end up.
127
To stalk solitary on lawns, to sing solitary in
midnight trees, to glide solitary over grey
Atlantics not for him hed rathera punch-up
in the gutter.
Its also a very informal, colloquial term.
128
To stalk solitary on lawns, to sing solitary in
midnight trees, to glide solitary over grey
Atlantics not for him hed rathera punch-up
in the gutter.
129
To stalk solitary on lawns, to sing solitary in
midnight trees, to glide solitary over grey
Atlantics not for him hed rathera punch-up
in the gutter.
130
To stalk solitary on lawns, to sing solitary in
midnight trees, to glide solitary over grey
Atlantics not for him hed rathera punch-up
in the gutter.
Indeed, the whole sentence is structured to
directly contrast with what came before.
131
To stalk solitary on lawns, to sing solitary in
midnight trees, to glide solitary over grey
Atlantics not for him hed rathera punch-up
in the gutter.
As well as the blunt not for him and the
colloquial punch-up and gutter, there is the
shortened, conversational hed.
132
To stalk solitary on lawns, to sing solitary in
midnight trees, to glide solitary over grey
Atlantics not for him hed rathera punch-up
in the gutter.
As well as the blunt not for him and the
colloquial punch-up and gutter, there is the
shortened, conversational hed.
133
To stalk solitary on lawns, to sing solitary in
midnight trees, to glide solitary over grey
Atlantics not for him hed rathera punch-up
in the gutter.
The informal word choice and sentence structure
reflect the ordinary nature of the sparrow.
134
To stalk solitary on lawns, to sing solitary in
midnight trees, to glide solitary over grey
Atlantics not for him hed rathera punch-up
in the gutter.
135
He carries what learning he haslightly it
is, in fact, based only on the usefulness whose
resultis survival. A proletarian bird.No
scholar.
136
He carries what learning he haslightly it
is, in fact, based only on the usefulness whose
resultis survival. A proletarian bird.No
scholar.
The third stanza focuses on the sparrows
apparent lack of education
137
He carries what learning he haslightly it
is, in fact, based only on the usefulness whose
resultis survival. A proletarian bird.No
scholar.
138
He carries what learning he haslightly it
is, in fact, based only on the usefulness whose
resultis survival. A proletarian bird.No
scholar.
MacCaig suggests that the sparrow economises in
what he knows. In terms of learning, it has
retained very little.
139
He carries what learning he haslightly it
is, in fact, based only on the usefulness whose
resultis survival. A proletarian bird.No
scholar.
Again, MacCaig effectively uses poetic techniques
to emphasise the point being made
140
He carries what learning he haslightly it
is, in fact, based only on the usefulness whose
resultis survival. A proletarian bird.No
scholar.
Again, MacCaig effectively uses poetic techniques
to emphasise the point being made
141
He carries what learning he haslightly it
is, in fact, based only on the usefulness whose
resultis survival. A proletarian bird.No
scholar.
The word lightly stands out for a number of
reasons
142
He carries what learning he haslightly it
is, in fact, based only on the usefulness whose
resultis survival. A proletarian bird.No
scholar.
Firstly, placing the adverb lightly at the end
of the clause makes it more notable. (compare
he carefully opened the box / he opened the
box carefully)
143
He carries what learning he haslightly it
is, in fact, based only on the usefulness whose
resultis survival. A proletarian bird.No
scholar.
MacCaig effectively uses enjambment to further
emphasise his point
144
He carries what learning he haslightly it
is, in fact, based only on the usefulness whose
resultis survival. A proletarian bird.No
scholar.
Enjambment the running over of a sentence from
one line of verse into the next.
145
He carries what learning he haslightly it
is, in fact, based only on the usefulness whose
resultis survival. A proletarian bird.No
scholar.
As a result, the word lightly now appears at
the start of the next line. Followed by a dash,
the word stands out for all to see.
146
He carries what learning he haslightly it
is, in fact, based only on the usefulness whose
resultis survival. A proletarian bird.No
scholar.
MacCaig is emphasising that the sparrow is not
weighed down with learning. It retains very
little of what it has been educated in.
147
He carries what learning he haslightly it
is, in fact, based only on the usefulness whose
resultis survival. A proletarian bird.No
scholar.
148
He carries what learning he haslightly it
is, in fact, based only on the usefulness whose
resultis survival. A proletarian bird.No
scholar.
149
He carries what learning he haslightly it
is, in fact, based only on the usefulness whose
resultis survival. A proletarian bird.No
scholar.
After stating that the sparrow economises in what
he knows, MacCaig identifies the learning that
the sparrow retains.
150
He carries what learning he haslightly it
is, in fact, based only on the usefulness whose
resultis survival. A proletarian bird.No
scholar.
The sparrow retains only what is useful for
day-to-day survival.
151
He carries what learning he haslightly it
is, in fact, based only on the usefulness whose
resultis survival. A proletarian bird.No
scholar.
The sparrow does not have the academic ability of
the other birds. Therefore, he has to be
selective with the information that he retains.
152
He carries what learning he haslightly it
is, in fact, based only on the usefulness whose
resultis survival. A proletarian bird.No
scholar.
He judges the worth of what he learns by how
useful it is.
153
He carries what learning he haslightly it
is, in fact, based only on the usefulness whose
resultis survival. A proletarian bird.No
scholar.
He judges the worth of what he learns by how
useful it is.
154
He carries what learning he haslightly it
is, in fact, based only on the usefulness whose
resultis survival. A proletarian bird.No
scholar.
Skills such as the ability to glide, to sing, to
write pretty scrolls in the air may be
impressive, but they are not practical skills
that are necessary for survival.
155
He carries what learning he haslightly it
is, in fact, based only on the usefulness whose
resultis survival. A proletarian bird.No
scholar.
In other words, they are not useful.
156
He carries what learning he haslightly it
is, in fact, based only on the usefulness whose
resultis survival. A proletarian bird.No
scholar.
result, found at the end of the line, is very
notable
157
He carries what learning he haslightly it
is, in fact, based only on the usefulness whose
resultis survival. A proletarian bird.No
scholar.
result continues the idea of academic
performance results from the examinations we sit
when being assessed on our academic ability.
158
He carries what learning he haslightly it
is, in fact, based only on the usefulness whose
resultis survival. A proletarian bird.No
scholar.
However, the only result the sparrow is
interested in is survival. He is not concerned
with his results in singing or gliding
159
He carries what learning he haslightly it
is, in fact, based only on the usefulness whose
resultis survival. A proletarian bird.No
scholar.
However, the only result the sparrow is
interested in is survival. He is not concerned
with his results in singing or gliding
160
He carries what learning he haslightly it
is, in fact, based only on the usefulness whose
resultis survival. A proletarian bird.No
scholar.
161
He carries what learning he haslightly it
is, in fact, based only on the usefulness whose
resultis survival. A proletarian bird.No
scholar.
162
He carries what learning he haslightly it
is, in fact, based only on the usefulness whose
resultis survival. A proletarian bird.No
scholar.
The stanza concludes with a couple of short,
negative sentences, reflecting the simple,
ordinary nature of the sparrow
163
He carries what learning he haslightly it
is, in fact, based only on the usefulness whose
resultis survival. A proletarian bird.No
scholar.
Both sentences are minor sentences as they are
lacking a verb or verb phrase (so technically not
proper sentences). Therefore, they continue the
informal language used when referring to the
sparrow.
164
He carries what learning he haslightly it
is, in fact, based only on the usefulness whose
resultis survival. A proletarian bird.No
scholar.
The sparrow is described as being a proletarian
bird
165
He carries what learning he haslightly it
is, in fact, based only on the usefulness whose
resultis survival. A proletarian bird.No
scholar.
Proletarian belonging to the lower or working
class the class of wage-earners whose only
possession of significant material is their
labour.
166
He carries what learning he haslightly it
is, in fact, based only on the usefulness whose
resultis survival. A proletarian bird.No
scholar.
Again, this is an effective description. The
sparrow is common. If a human, he most certainly
would be considered working-class. He does not
have the education, skill or grace required to be
part of the upper classes.
167
He carries what learning he haslightly it
is, in fact, based only on the usefulness whose
resultis survival. A proletarian bird.No
scholar.
The stanza ends as the poem began a simple,
negative statement of what the sparrow is not.
168
He carries what learning he haslightly it
is, in fact, based only on the usefulness whose
resultis survival. A proletarian bird.No
scholar.
Sandwiched between being identified as no
artist and No scholar, the sparrows
appearance, skills and learning have all been
looked down upon.
169
He carries what learning he haslightly it
is, in fact, based only on the usefulness whose
resultis survival. A proletarian bird.No
scholar.
At this point, the poem appears to have been
rounded off quite nicely
170
He carries what learning he haslightly it
is, in fact, based only on the usefulness whose
resultis survival. A proletarian bird.No
scholar.
171
But when winter soft-shoes inand these other
birds ballet dancers, musicians, architects
die in the snowand freeze to
branches,watch him happily flyingon the
O-levels and A-levels of the air.
172
But when winter soft-shoes inand these other
birds ballet dancers, musicians, architects
die in the snowand freeze to
branches,watch him happily flyingon the
O-levels and A-levels of the air.
173
But when winter soft-shoes inand these other
birds ballet dancers, musicians, architects
die in the snowand freeze to
branches,watch him happily flyingon the
O-levels and A-levels of the air.
However, the opening word of the fourth stanza
introduces a change in direction.
174
But when winter soft-shoes inand these other
birds ballet dancers, musicians, architects
die in the snowand freeze to
branches,watch him happily flyingon the
O-levels and A-levels of the air.
The first three stanzas may not have compared the
sparrow favourably to the other birds, but the
But suggests that this may be about to change
175
But when winter soft-shoes inand these other
birds ballet dancers, musicians, architects
die in the snowand freeze to
branches,watch him happily flyingon the
O-levels and A-levels of the air.
176
But when winter soft-shoes inand these other
birds ballet dancers, musicians, architects
die in the snowand freeze to
branches,watch him happily flyingon the
O-levels and A-levels of the air.
177
But when winter soft-shoes inand these other
birds ballet dancers, musicians, architects
die in the snowand freeze to
branches,watch him happily flyingon the
O-levels and A-levels of the air.
MacCaig effectively uses personification when
referring to the arrival of winter
178
But when winter soft-shoes inand these other
birds ballet dancers, musicians, architects
die in the snowand freeze to
branches,watch him happily flyingon the
O-levels and A-levels of the air.
MacCaig describes winter as soft-shoeing in.
This makes it sound secretive, as though winter
has crept up behind the birds without them
noticing.
179
But when winter soft-shoes inand these other
birds ballet dancers, musicians, architects
die in the snowand freeze to
branches,watch him happily flyingon the
O-levels and A-levels of the air.
The use of sibilance adds to the image of winter
softly creeping in
180
But when winter soft-shoes inand these other
birds ballet dancers, musicians, architects
die in the snowand freeze to
branches,watch him happily flyingon the
O-levels and A-levels of the air.
The use of sibilance adds to the image of winter
softly creeping in
181
But when winter soft-shoes inand these other
birds ballet dancers, musicians, architects
die in the snowand freeze to
branches,watch him happily flyingon the
O-levels and A-levels of the air.
Sibilance repetition of the s or sh sound.
182
But when winter soft-shoes inand these other
birds ballet dancers, musicians, architects
die in the snowand freeze to
branches,watch him happily flyingon the
O-levels and A-levels of the air.
This is quite an apt image, as winter quite often
creeps up on us without any warning
183
But when winter soft-shoes inand these other
birds ballet dancers, musicians, architects
die in the snowand freeze to
branches,watch him happily flyingon the
O-levels and A-levels of the air.
There is also irony in the fact that soft-shoe is
a type of dance. Soft-shoe is a silent version
of tap-dancing. Soft shoes are worn by highland
dancers.
184
But when winter soft-shoes inand these other
birds ballet dancers, musicians, architects
die in the snowand freeze to
branches,watch him happily flyingon the
O-levels and A-levels of the air.
There is also irony in the fact that soft-shoe is
a type of dance. Soft-shoe is a silent version
of tap-dancing. Soft shoes are worn by highland
dancers.
185
But when winter soft-shoes inand these other
birds ballet dancers, musicians, architects
die in the snowand freeze to
branches,watch him happily flyingon the
O-levels and A-levels of the air.
186
But when winter soft-shoes inand these other
birds ballet dancers, musicians, architects
die in the snowand freeze to
branches,watch him happily flyingon the
O-levels and A-levels of the air.
187
But when winter soft-shoes inand these other
birds ballet dancers, musicians, architects
die in the snowand freeze to
branches,watch him happily flyingon the
O-levels and A-levels of the air.
Parenthesis is effectively utilised by MacCaig
here
188
But when winter soft-shoes inand these other
birds ballet dancers, musicians, architects
die in the snowand freeze to
branches,watch him happily flyingon the
O-levels and A-levels of the air.
The other birds are identified as ballet
dancers, musicians, architects.
189
But when winter soft-shoes inand these other
birds ballet dancers, musicians, architects
die in the snowand freeze to
branches,watch him happily flyingon the
O-levels and A-levels of the air.
The ballet dancers are the graceful birds who
glide in flight. Both have great poise and
beauty in their movements.
190
But when winter soft-shoes inand these other
birds ballet dancers, musicians, architects
die in the snowand freeze to
branches,watch him happily flyingon the
O-levels and A-levels of the air.
The musicians are the birds who make beautiful
music with their songs.
191
But when winter soft-shoes inand these other
birds ballet dancers, musicians, architects
die in the snowand freeze to
branches,watch him happily flyingon the
O-levels and A-levels of the air.
The architects are the birds who build
impressive nests.
192
But when winter soft-shoes inand these other
birds ballet dancers, musicians, architects
die in the snowand freeze to
branches,watch him happily flyingon the
O-levels and A-levels of the air.
These are very effective images of the different
birds.
193
But when winter soft-shoes inand these other
birds ballet dancers, musicians, architects
die in the snowand freeze to
branches,watch him happily flyingon the
O-levels and A-levels of the air.
MacCaig expertly guides the reader into seeing
the comparison between birds and mankind.
194
But when winter soft-shoes inand these other
birds ballet dancers, musicians, architects
die in the snowand freeze to
branches,watch him happily flyingon the
O-levels and A-levels of the air.
ballet dancers, musicians, architects are seen
as high-fliers (sorry, couldnt resist!). They
are certainly not jobs held by the working-class.
195
But when winter soft-shoes inand these other
birds ballet dancers, musicians, architects
die in the snowand freeze to
branches,watch him happily flyingon the
O-levels and A-levels of the air.
The change in direction is revealed.
196
But when winter soft-shoes inand these other
birds ballet dancers, musicians, architects
die in the snowand freeze to
branches,watch him happily flyingon the
O-levels and A-levels of the air.
The other birds, despite all their grace and
beauty, are the ones who fail to survive the
harsh conditions of winter.
197
But when winter soft-shoes inand these other
birds ballet dancers, musicians, architects
die in the snowand freeze to
branches,watch him happily flyingon the
O-levels and A-levels of the air.
The image of birds dying in the snow and being
frozen to braches is harsh is itself.
198
But when winter soft-shoes inand these other
birds ballet dancers, musicians, architects
die in the snowand freeze to
branches,watch him happily flyingon the
O-levels and A-levels of the air.
These birds may have beautiful songs and glide
majestically across the sky, but they do not have
the practical skills necessary to survive.
199
But when winter soft-shoes inand these other
birds ballet dancers, musicians, architects
die in the snowand freeze to
branches,watch him happily flyingon the
O-levels and A-levels of the air.
This reflects society itself. Some people have
beauty and graceful movements, but they dont
have the practical skills necessary to deal with
the harsh realities of life.
200
But when winter soft-shoes inand these other
birds ballet dancers, musicians, architects
die in the snowand freeze to
branches,watch him happily flyingon the
O-levels and A-levels of the air.
201
But when winter soft-shoes inand these other
birds ballet dancers, musicians, architects
die in the snowand freeze to
branches,watch him happily flyingon the
O-levels and A-levels of the air.
202
But when winter soft-shoes inand these other
birds ballet dancers, musicians, architects
die in the snowand freeze to
branches,watch him happily flyingon the
O-levels and A-levels of the air.
Once again, MacCaig utilises the contrast between
the sparrow and the other birds
203
But when winter soft-shoes inand these other
birds ballet dancers, musicians, architects
die in the snowand freeze to
branches,watch him happily flyingon the
O-levels and A-levels of the air.
The sparrow, unlike the other birds, manages to
survive the winter.
204
But when winter soft-shoes inand these other
birds ballet dancers, musicians, architects
die in the snowand freeze to
branches,watch him happily flyingon the
O-levels and A-levels of the air.
He has the practical skills necessary to survive
the harsh conditions.
205
But when winter soft-shoes inand these other
birds ballet dancers, musicians, architects
die in the snowand freeze to
branches,watch him happily flyingon the
O-levels and A-levels of the air.
The learning he carries lightly has proved to be
more important than skills that the other birds
enjoy showing off.
206
But when winter soft-shoes inand these other
birds ballet dancers, musicians, architects
die in the snowand freeze to
branches,watch him happily flyingon the
O-levels and A-levels of the air.
MacCaig once again makes reference to education
and academic performance.
207
But when winter soft-shoes inand these other
birds ballet dancers, musicians, architects
die in the snowand freeze to
branches,watch him happily flyingon the
O-levels and A-levels of the air.
MacCaig once again makes reference to education
and academic performance.
208
But when winter soft-shoes inand these other
birds ballet dancers, musicians, architects
die in the snowand freeze to
branches,watch him happily flyingon the
O-levels and A-levels of the air.
O-levels and A-levels are qualifications earned
by pupils at school. Our current equivalent
would be Standard Grades and Highers.
209
But when winter soft-shoes inand these other
birds ballet dancers, musicians, architects
die in the snowand freeze to
branches,watch him happily flyingon the
O-levels and A-levels of the air.
There is a humorous irony used here. The sparrow
is far from the brightest bird in terms of the
academic skills that it has.
210
But when winter soft-shoes inand these other
birds ballet dancers, musicians, architects
die in the snowand freeze to
branches,watch him happily flyingon the
O-levels and A-levels of the air.
It wouldnt achieve A-level music or A-level
writing, thats for sure.
211
But when winter soft-shoes inand these other
birds ballet dancers, musicians, architects
die in the snowand freeze to
branches,watch him happily flyingon the
O-levels and A-levels of the air.
However, if practical skills were assessed, the
sparrow would pass quite comfortably.
212
But when winter soft-shoes inand these other
birds ballet dancers, musicians, architects
die in the snowand freeze to
branches,watch him happily flyingon the
O-levels and A-levels of the air.
Indeed, he would pass with flying colours!
(sorry)
213
But when winter soft-shoes inand these other
birds ballet dancers, musicians, architects
die in the snowand freeze to
branches,watch him happily flyingon the
O-levels and A-levels of the air.
214
(No Transcript)
215
Commentary
216
Sparrow begins by making the bird seem
insignificant. Words like dowdy and slum
suggest that there is nothing noteworthy or
creative about the sparrows plumage or nesting
habits. The poet continues to emphasise the
ordinary nature of the sparrow in the colloquial
language that one of this type might use a
punch-up in the gutter. By contrast, the
blackbird demands attention in his writing in the
air the words pretty scrolls and the image of
the gold nib of a pen (beak) suggest ornate
writing which is attractive.
217
This slang contrasts to the formality of the
first three lines of stanza two in the repeated
structure of to stalk, to sing and to
glide. Each of these infinitives emphasises the
isolation of grander birds who cove