Reviews of Selected Poems
To the students and budding poets of the West Indies
—
Past, present and future.
A Brief Introduction to the Series: Bite In 1 & 2
Bite In is a three-book graded course for teaching students to understand and enjoy poetry at Secondary school level. This third edition offers a carefully graded selection of poems to cater for all abilities.
Both Bite In 1 & 2 are recommended to people who are just starting poetry, like children for example or preteens. Similarly, as with Bite In 1, this anthology (collection) of poems, Bite In 2, has poems arranged in several sections. They are “People and Stories”, “Creatures and Things”, “Places and Times” and “Looking at Life”. Each section consists of fairly simple poems which are usually easy to read and to interpret. A favourite poem for many is one which appears right before the contents page in the series called “How to Eat a Poem” by the poet Eve Merriam (from which the series gets the title Bite In); which compares enjoying and reading poetry to eating a delicious fruit. Indeed, this is the intention behind the Bite In series, that readers of poetry, particularly young readers, will discover a love and passion for reading, responding to and writing their own poems. It is hoped that through the teaching of poetry teachers of this literary genre will engender in their students a profound willingness to “bite into” the creative possibilities which the study of poetry offers to everyone exposed to this literary art form, especially young impressionable minds.
There are also a few poems in this series which introduces children to poems written by young poets of similar ages. Following each section are a few activities which tests the reader’s understanding of each poem presented in the text as well as to help the reader learn more about poetry in general. Most of it is comprehension.
Thus, without further ado, let us all (novice, student and teacher) …
Bite In! Bon appétit!
Bibliographic information
Title: Bite In 1 & 2
Editor: Cecil Gray
Publisher: Thomas Nelson and Sons Ltd, © 1994
Selected poems:
Poem: “The Song of the Banana Man”
Poet: Evan Jones
Setting: Jamaica
Type/Style: Combines the genres of rhymed, rhythm, and dramatic narrative poems (form of poetry that tells a story; often presenting the voices of a narrator and characters as well).
Point of view: First person perspective (persona)
"The Song of the Banana Man"
Touris, white man, wipin his face,
Met me in Golden Grove market place.
He looked at m'ol' clothes brown wid stain ,
An soaked right through wid de Portlan rain,
He cas his eye, turn up his nose,
He says, 'You're a beggar man, I suppose?'
He says, 'Boy, get some occupation,
Be of some value to your nation.'
I said, 'By God and dis big right han
You mus recognize a banana man.
'Up in de hills, where de streams are cool,
An mullet an janga swim in de pool,
I have ten acres of mountain side,
An a dainty-foot donkey dat I ride,
Four Gros Michel, an four Lacatan,
Some coconut trees, and some hills of yam,
An I pasture on dat very same lan
Five she-goats an a big black ram,
Dat, by God an dis big right han
Is de property of a banana man.
'I leave m'yard early-mornin time
An set m'foot to de mountain climb,
I ben m'back to de hot-sun toil,
An m'cutlass rings on de stony soil,
Ploughin an weedin, diggin an plantin
Till Massa Sun drop back o John Crow mountain,
Den home again in cool evenin time,
Perhaps whistling dis likkle rhyme,
(Sung)Praise God an m'big right han
I will live an die a banana man.
'Banana day is my special day,
I cut my stems an I'm on m'way,
Load up de donkey, leave de lan
Head down de hill to banana stan,
When de truck comes roun I take a ride
All de way down to de harbour side—
Dat is de night, when you, touris man,
Would change your place wid a banana man.
Yes, by God, an m'big right han
I will live an die a banana man.
'De bay is calm, an de moon is bright
De hills look black for de sky is light,
Down at de dock is an English ship,
Restin after her ocean trip,
While on de pier is a monstrous hustle,
Tallymen, carriers, all in a bustle,
Wid stems on deir heads in a long black snake
Some singin de sons dat banana men make,
Like, (Sung) Praise God an m'big right han
I will live an die a banana man.
'Den de payment comes, an we have some fun,
Me, Zekiel, Breda and Duppy Son.
Down at de bar near United Wharf
We knock back a white rum, bus a laugh,
Fill de empty bag for further toil
Wid saltfish, breadfruit, coconut oil.
Den head back home to m'yard to sleep,
A proper sleep dat is long an deep.
Yes, by God, an m'big right han
I will live an die a banana man.
'So when you see dese ol clothes brown wid stain,
An soaked right through wid de Portlan rain,
Don't cas your eye nor turn your nose,
Don't judge a man by his patchy clothes,
I'm a strong man, a proud man, an I'm free,
Free as dese mountains, free as dis sea,
I know myself, an I know my ways,
An will sing wid pride to de end o my days
(Sung)Praise God an m'big right han
I will live an die a banana man.'
Evan Jones, "Song of the Banana Man," from The Penguin Book of Caribbean Verse in English. Copyright © 1986.
Historical Background
This poem belongs to the pre-independence era and does not represent the latest modernist or post-modernist developments in contemporary Jamaican literature. But it solidly represents Jamaica in several ways, rooted in one of the strong traditions of the country economically, industrially, and politically, and in very apposite addition to those, speaks to the development of the literature. It may be regarded as a highly representative specimen of Jamaican poetry.
Selected
poems:
“First Fight”
“Ballad of an
Old Woman”
“Dawn is a
Fisherman”
“Unfolding
Bud”
“Pencil in a
Bowl”
Poem:
“First Fight”
Poet:
Vernon Scannell
Setting:
England
Type/Style: Narrative Poem (form of poetry that tells a
story; often presenting the voices of a narrator and characters as well).
Point of
view: Third person perspective
(persona)
A manifest glance at the poem:
In this
poem we discover a young man preparing for his first boxing match. He is
probably an inexperienced boxer, as this appears to be his first amateur match.
While lying in his dressing room preparing to go before the “roaring… crowd”
(l. 6) he experiences many mixed emotions; mainly fear of failure and
embarrassment of being knocked down in the first round,
And
bring the cunning fear
That
he might not do well,
Nor
fear of bodily pain
But
that his tight-lipped pride
Might
be sent crashing down,
His
white ambition slain,
Knocked
spinning the glittering crown.
How
could his spirit bear
That
ignominious fall?
Not
hero but a clown
Spurned
or scorned by all (ll. 10-20).
The
persona (main speaking voice; styled as both “narrator” and boxing match
commentator) relates the fighter’s concerns about not being able to bear the
humiliation of being knocked out in the match and the ensuing scorn by the spectators; resulting in his public disgrace
and shame. These unpleasant emotions evoke a sense of envy from the amateur
boxer for the eagerly waiting crowd, who contemplates watching the fight rather
than taking part in the event as a contender. In short, the fighter believes
that being part of the audience (or anywhere other than in the ring) seems to
be a better place than where he is (a first-time boxer about to enter the ring),
The
thought appals, and he
Feels
sudden envy for
The
roaring crowd outside
And
wishes he were there
Anonymous
and safe,
Calm
in the tolerant air,
Would
almost choose to be
Anywhere
but here (ll. 21-28).
The
fighter’s internal disquiet or angst (fear) is further exemplified in the
poet’s comparison of the Boy’s (young fighter’s) nervous disposition (outlook)
to that of the boxing ring’s tightly stretched geometric ropes,
Geometric
ropes are stretched as taut
As this boy’s nerves are tight (ll.
43-44).
A
fitting and vivid use of figurative language, in this instance a simile. Here, the poet aptly captures
the visually impactful image of the ring’s tight ropes with the young fighter’s
tightened nerves.
Eventually
the time comes for him to enter the ring as his dressing room is filled with
the noise of the eagerly waiting crowd. His assistant tells him he is in the
next fight and reassures him that everything will be okay. As he enters the
ring he is very nervous but tries not to show it,
And
now he’s in his corner where
He
tries to look at ease; (ll. 45-46).
The
crowd teases him with mocking stares (facial expressions evoking feelings of contempt and intimidation) as his adversary (opponent) comes out and he takes a quick
glance at him,
He
feels the crowd’s sharp eyes as they
Prick
and pry and tease;
He
hears them murmur like the sea
Or
some great dynamo:
They
are not hostile yet they wish
To
see his lifeblood flow (ll. 47-52).
An
indication that he is not the crowd favourite but rather the underdog (a competitor thought to have
little chance of winning a fight or contest). Perhaps he is in his challenger’s
hometown. Thus, having to suffer the insults of the crowd who have come out to
support their hometown champion. Notwithstanding his apparent rejection as the
crowd favourite, the fighter is resolved to face his rival (not as an enemy to
be destroyed) but an object to be defeated with quick thinking, perfect timing
and skill,
He
does not see an enemy
But
something there by chance,
Not
human even, but a cold
Abstraction
to defeat,
A
problem to be solved by quile,
Quick
hands and knowing feet (ll. 55-60).
Here,
he mentally dehumanizes and objectifies his competitor (mocks his human status)
much like how he too has been mocked by the crowd. One imagines that this is part of the Boy’s strategy for overcoming his nervousness and psychologically readying himself for the
battle which is about to commence.
As
the fighters’ names are called they greet and receive instructions from the
referee, what the persona calls “The disciplines of war” (l. 64), then the bold
and brassy onomatopoeic sound (the use of words whose sound suggests a
vocal imitation of the sound associated with it) of the bell’s
singular “clang” (l. 66) signals the start of the fight.
The
reader soon realizes that the structure of the poem (the way it appears in
print, i.e. how it looks on the page and how it is meant to be read) is
intended to mimic the persona’s racy (fast pace) observations and commentaries;
the coach’s instructions to the fighter and the poet’s manipulations of events
in the poem. All of which happens simultaneously. This change of pace helps the
reader to appreciate the quickening action taking place in the ring, particularly
during a much anticipated boxing match. Moreover, the hastening style with
which the events are broadcasted by the persona/commentator/poet paints a
realistic or believable depiction of an actual boxing match occurring in real
time.
An interpolation (an insertion or
addition) on the poetic structure of “First Fight”:
The
poem is divided into four sections, delineated
by the Roman numerals I, II, III, and
IV. Each section varies in length
and composition (i.e. fluctuations/changes occur in the number of lines per section and words per line). For
example, Section II is the only section to be subdivided
into three stanzas/verses. Section III,
the longest section, begins at line 69 and ends at line 148 (making it almost 3
times as long as Section I, twice as
long as Section II and 5 times as
long as Section IV). Also, there are
fewer words per most lines in Section III
when compared to the other three sections. Thus, the lines in this section are
noticeably shorter, alternating in a jagged pattern of uneven lines with some
being slightly longer than others,
Bite
on gumshield,
Guard
held high,
The
crowd are silenced,
All
sounds die (ll. 69-72).
The
aforementioned quote serves as an illustration of the pattern which is repeated throughout Section III. Of note, the actual fight
between the two boxers takes place in this section of the poem as well. Thus,
the shorter lines serve to reflect the rapid movements of the fighters’ hands
and feet throughout their bouts.
Another
feature of the poem’s structure is the irregular rhyme pattern which helps in
maintaining the reader’s interest in an otherwise lengthy poem. This also serves
to reflect a sense of rhythm to the movement of the boxers who are seen locked
in battle during this section of the poem. Undeniably,
the poet makes greater use of alternate rhyme during this stage of the
fighters’ dramatic action than at any other time in the poem. Additionally, this increased use of rhyme aids
in speeding the action of the poem along; generating an intensity of suspense
as the match races to an unexpected and heroic win for the first-time fighter. On further reflection, the actual fight only
lasts for two rounds, both of which occur in Section III, “But the first round finishes” (l. 97) and “Slip in
the gumshield” (l. 113) signals the start of the second round. Again, the
poem’s structure has been characterized by a craftsman-like attention to detail,
bordering on a pedantic (elaborate and decorative) style which is compensated for by the relatively quick pace with which the actual fight begins and ends (i.e. the poet's use of shorter lines to describe the fight scenes).
As
the fight begins the crowd is silent while they watch. The Boy manages to get
in a few blows against his opponent, but only a few. He is fearful, hurt and stumbling
from his adversary’s counter attack,
Sweat
in your nostrils,
Grease
and fear.
You’re
hurt and staggering,
Shocked
to know
That
the story’s altered:
He’s the hero! (ll. 83-88).
The
fighter is relieved to know that he has done well enough to survive the first
round,
But the first round finishes
Without
mishap (l. 97-98).
His
assistant/coach yells helpful instructions while he prepares for the second
round. These he accepts to avoid losing the fight. After giving a good few jabs
to his challenger he receives one to the head that blurs his vision and almost
falls to the canvas,
But
he crosses with a right,
Smack
on your jaw
And
Guy Fawkes’ Night
Flashes
and dazzles
Inside
your skull,
Your
knees go bandy
And
you almost fall (ll. 118-124).
The
poet’s historical allusion (passing reference) and commentary on the English co-conspirator, Guy
Fawkes (1570-1606 AD), reminds British readers and by extension those former
colonies which were under British rule, including Barbados, of the annual
commemorations (with fireworks and bonfires) held throughout the erstwhile British
Empire on the 5th of November. This reference perhaps illustrates
the burning and dazzling pain experienced
by the Boy after receiving a “Smack on [the] jaw” from his opponent. Additionally,
it might be the poet’s way of implying that the Boy could easily be foiled in
battle (in similar fashion to the notorious traitor, yet revolutionary hero, Guy
Fawkes).
On
regaining control, he continues to fight, jabbing left and right; moving all around
the ring to avoid defeat. Mindful of his coach’s instructions on how to outmanoeuvre
his opponent,
Crack
him with a solid right,
Hit
him on the chin,
A
couple downstairs
And
then he’ll pack it in (ll. 109-112).
Gathering
confidence as the second round progresses, he gives a punch that sends his
adversary to the floor. The crowd goes wild with excitement as his opponent (who,
from the reaction of the crowd, is unlikely their hometown boy; perhaps merely another amateur fighter) is sent sprawling to the canvas. The Boy’s unlikely landing of a knockout punch against his adversary brings
the fight to a quick but sensational end,
Now for the pay-off punch,
Smash
it hard inside;
It
thuds against his jaw, he falls,
Limbs
spread wide.
And
suddenly you hear the roar,
Hoarse
music of the crowd,
Voicing
your hot ecstasy,
Triumphant,
male and proud (ll. 141-148).
After
the fight, as he lays in bed reflecting on the evens of the fight, the Boy
finds himself once more contemplating loss. This time, not for himself but for
his opponent. He thinks about the man he fought and what he must be feeling to
have lost the fight,
The
Boy, in bed, remembers. Suddenly
The
victory tastes sour. The man he fought
Was
not a thing, as lifeless as a broom.
He
was a man who hoped and trembled too;
What
of him now? What was he going through?
(ll. 150-154).
Conceivably,
the Boy’s acknowledgement of his rival as “a man” (ll. 151 & 153) is an indication that
the latter was a more seasoned/experienced boxer than the Boy. Therefore, the Boy’s feelings
of remorse is indicative of the respect he has for his opponent. However,
these shifting feelings of sadness and joy (the taste of bitter sweet victory) soon
give way to a sense of jubilation, victory, accomplishment and resolution,
And
then the Boy bites hard on resolution:
Fighters
can’t pack pity with their gear,
And
yet a bitter taste stays with the notion;
He’s
forced to swallow down one treacherous tear.
But
that’s the last. He is a boy no longer;
He
is a man, a fighter, such as jeer
At
those who make salt beads with melting eyes,
Whatever
might cry out, is hurt, or dies (ll. 155-162).
The
fighter ends his own internal emotional battle (fight) with the resolution that
he cannot think about showing pity or compassion for his opponents. He is now a
self-proclaimed man (no longer a boy; a view also shared by the persona)
who has come of age as a strong and fearless champion fighter to be reckoned
with in future battles.
___________________________________________________________________
Poem:
“Ballad of an Old Woman”
Poet:
Frank Collymore
Setting:
Barbados
Type/Style: Ballad (a
poem or song narrating a story in short stanzas/verses. Traditional ballads
are typically of unknown authorship, having been passed on orally from one
generation to the next as part of the folk culture).
Point of
view: Third person perspective
(persona/speaking voice in the poem appears to be that of the poet).
A manifest glance at the poem:
As
a national literary icon, Frank Collymore has vividly captured a prominent,
albeit somewhat reprehensible, feature of the Barbadian socio-historical past
and to a lesser extent its present social configuration: the single-parent home
and or female-headed household.
In
the poem, the reader learns of an unmarried, single-parent old woman, mothering twenty-one
children on her own. No mention is made of the children’s father(s) nor of any
father figure in the family. Conversely, repeated mention is made of the old
woman’s spirited and unswerving faith in God, captured in the poem’s refrain:
“Singing Glory to God”. This too is a
reflection of the island’s deeply rooted Christian traditions and values.
In
the course of time, each child, on reaching adulthood, immigrates to the USA;
contemplating a better future. Seen during the 1970s and 1980s as the Land of Opportunity;
maybe a view still held by many today. However, what little connection existed
between the old woman and her children after their departure is eventually and
completely severed,
Sometimes
they thought of her, sometimes they wrote,
Sometimes
they sent her a five dollar note:
Sing Glory to God.
And
when in the course of the long waiting years
The
letters ceased coming, she dried her tears,
Singing Glory to God (ll.
10-15).
Without
a doubt, the poet’s somber and plaintive tone and despairing mood (i.e.
feelings evoked by the poet’s prevailing emotional attitude or use of gloomy
language) for the plight of his subject, the old woman; abandoned and forgotten
by her own children, is heart-wrenching to read and contemplate upon.
Especially when one considers,
She
gave them all her poor means could afford
And
brought them all up in the fear of the Lord, (ll. 4-5).
In
stark contrast to the old woman’s selfless and self-sacrificial care of her
children, the latter shamefully repaid their mother, as they sometimes
remembered her, sometimes wrote her letters, and sometimes sent her a
miserly five-dollar note. Nonetheless, the old woman and the poet, who tells
her story via this poetic medium, pleads with us to adopt the old woman’s
attitude to sing praises to God even in adversity. Note the verb “Sing” (l. 12),
in the refrain, changes from the present
participle/present continuous tense (action of) “Singing”, as previously
used in the refrain of the preceding verses. Symbolic, feasibly, of the old
woman’s personal struggle with her faith after the unchristian, loveless
betrayal meted out to her by her children.
After
hoping against all hope, she too concedes the disgraceful reality that her
children, whom she raised with only the help of God, have abandoned her. Possibly,
to be never seen or heard from again. Yet, her faith in God remains strong,
And
when in the course of the long waiting years
The
letters ceased coming, she dried her tears,
Singing
Glory to God.
And
when the old shed-roof collapsed from decay
She
went to the almshouse and walked all the way,
Singing
Glory to God (ll. 13-18).
Here
we see her ultimate test of faith. The old woman is destitute. Her house, which
sheltered her and twenty-one offsprings, falls into disrepair and decay. Without
children to help her in her greatest time of need and without a place to call
home. Still, we see the old woman’s resolve. The reader too is admonished by
this remarkable example of faith to join in this chorus of praising God even
when one does not feel or think there is a reason to do so. The paradoxical/oxymoronic
lesson to be learnt here is that one should praise God, especially when life’s experiences
are egregiously testing (severely
difficult).
At
the almshouse (a place for poor people to call home, which also serves as a
geriatric hospital/senior citizens’ home and orphanage) the old woman,
abandoned by her own biological children, is blessed by God with (performing
the role once more of mothering/parenting) other/others’
children; abandoned by their parents. Though the emphasis, in relation to
the orphans, seems to be on mothers abandoning their children. Once more the
poet’s skillful juxtapositioning of paradoxes (the old woman/mother forsaken by her children and the orphans
abandoned by their mothers) sets up a platform from which the themes of: Mothering, Abandonment, Severing Family
Ties, Dislocation, Homelessness, Female-Headed Households, Matriarchal Families/Households,
and the Single-Parent, Female-Headed
Households can be examined and discussed.
Each
subject (old woman and orphans) robbed of family ties, home, affection and
love, find comfort in each other’s dejected status. The old woman finds children to mother and the orphans find a mother to love and care for them. Collymore
uses the literary device of alliteration (a
stylistic device in which the repetition of the same sound in two or more words
follow each other in succession) to dramatic effect. Again, the poet
reemphasizes the themes of Mothering and Motherlessness. This is demonstrated
in the repetition of the “m” sound in the line, “mothered many motherless” (l.
19).
Notwithstanding
their shared suffering and dislocation, both mother (old woman) and the
motherless (orphans) find renewed hope in the quest for family and love (love of
family) along with a reason to praise God,
And
there she mothered many motherless brats
Who
slept on her shoulder and pulled at her plaits,
Singing
Glory to God (ll. 19-21).
This
newfound hope is again tested when the old woman dies. A crude and cruel
reminder of our own mortality. Still the chorus and mantra of praising God
continued,
Then
one day she sickened and the next day she died;
They
brought out the hearse and put her inside
Singing
Glory to God (ll. 22-24).
While
deserted by her own biological children, and no doubt missed and praised by her
adopted children at the almshouse,
she is also remembered, eulogized and immortalized here in poetry as a beacon
of hope and champion of faith. Never to be forgotten. Though physically dead
her acts of kindness speak from the grave. Her immortal soul radiates with
angelic charity; personified, yet paradoxically juxtaposed with the status of a
guardian angel by the poet as, “one with the Night and the Light of the Day”
(l. 26). Perhaps an Angelic Patron Saint; guarding the destitute, forsaken and
orphaned souls of this world both night and day. This is reason enough,
concedes Collymore, for everyone to “Sing Glory to God” (l. 27). Amen.
A brief commentary on the themes
highlighted in the poem:
Themes:
Mothering, Abandonment, Severing Family
Ties, Dislocation, Homelessness, Female-Headed Households, Matriarchal
Families/Households, and the Single-Parent,
Female-Headed Households
The
focus here in the poem, without coincidence though controversial, is on the
(historical) rise of women as heads of households in Barbados (and by extension
the Caribbean). The single-parent, female-headed household emerged from the
colonial/plantocratic (slave trade, plantation) era in the Caribbean as a
consequence of the dislocation of men (first, as slaves, transported throughout
the Americas, from Barbados, as chattel on plantations and later as migrant
workers to the metropolises: mainly, the UK and USA, following World Wars I and II). Panama should be included here as well, as many men left
Barbados and other West Indian nations to work on the construction of the
Panama Canal. Historians agree that Barbadian men were the largest group of
labourers recruited by the American canal builders for the construction of the
Panama Canal between 1904-1914.
Truly,
the historical background to the female-headed household in Barbados and the
maternal quest for socio-economic development vis-à-vis migration to the USA (by
the children in the poem) is presented both as an indictment (condemnation) of the plight of
Barbadian/West Indian women having to raise children and manage households on their
own and as a celebration of the
remarkable character, resourcefulness and self-sacrificial spirit with which
they attained this feat. The old woman’s children are similarly condemned for
abandoning their mother. Whether one celebrates the acts of self-sacrificial
love of mothers (parents) towards their children or conversely, condemns the
self-centered abandonment of mothers (parents) by their children, the reality
is that these scenarios are still played out today across the Barbadian social landscape, the region and the world.
A note on poetic structure:
This
ballad consists of nine triplet stanzas
(each stanza three lines long, with the third line being the refrain) and nine rhyming couplets (the first two
lines of each stanza rhyme [a a]), in
the following arrangement:
Stanzas:
|
Rhyming
Couplets:
|
1st stanza
|
wed / bed
|
2nd stanza
|
afford / Lord
|
3rd stanza
|
away / USA
|
4th stanza
|
wrote / note
|
5th stanza
|
years / tears
|
6th stanza
|
decay / way
|
7th stanza
|
brats / plaits
|
8th stanza
|
died / inside
|
9th stanza
|
clay / Day
|
The
poet’s use of rhyme—in the form of rhyming couplets—aids in maintaining a steady,
balanced rhythm and pace when reading the poem. Conceivably, one may
even glean from the couplets alone, a
musical note/tribute/eulogy on the life and times of the old woman. The preachy
tone of the poem is no doubt deliberate and is equally welcomed by this reader.
To be sure, the preachy tone of this commentary is but a paltry and Wilde act of imitation, rendered with
the sincerest form of flattery that (my)
mediocrity can pay to (the poet’s) greatness.
_______________________________________________________________
Poem: “Dawn is a Fisherman”
Poet: Raymond Barrow
Setting: Belize
Type/Style: Allegory
(a literary device treated as an
extended metaphor; depicted in a story, poem, or picture that can be
interpreted to reveal a hidden meaning through symbolic figures, actions,
imagery, or events, which together create the moral, spiritual, or political
meaning the author wishes to convey).
Point
of view: Third person
perspective (persona)
The
title, “Dawn is a
Fisherman”, signifies that the poem is a metaphor
of a special kind. As an allegory—an
extended metaphor—a figure of speech comparing things which are not alike,
without the use of “like” or “as”, the poet immediately focuses the reader’s
attention on the significance of the title as a clue to decoding/unlocking the mystery
of the poem’s hidden meaning and message.
One
of the first clues in this quest to discover the true meaning of the poem
is the realization that “Dawn” is not
the name of a/the fisherman spoken of in the poem. Instead, “Dawn” is a well crafted example of the poetic technique of personification. Part of the poet’s craftsmanship
in creating this complex allegory—extended metaphor—of "Dawn", which has been imbued/embodied with human-like
qualities. It gradually emerges,
after a close reading (imaginably, after multiple readings) of this poem, that “Dawn”
signifies the first appearance of light in the sky before sunrise—the beginning
of the day/a new day.
Another
clue is the extensive and extended use of figurative language (poetic
techniques), namely: metaphor, personification, simile and alliteration. The manner
in which the poetic device of metaphor has been employed in the piece, owing to
the allegorical style of the poem, reinforces the view that the
combined use of the aforementioned poetic techniques contributes to the poem’s symbolic
characteristics. Chief of which are metaphor and personification, which are explored
in greater detail in the summary of the poem.
A summarized plot of the poem:
The
poet, Raymond Barrow, has presented, much like a painter on canvas or symphonic
composer, a mosaic/musical masterpiece of words depicting (in true Tennysonian fashion) the cyclical truth that the dark night of the soul’s
despair will eventually give way to the glorious morn of hope, prosperity and
liberty.
In vulgar
terms, the poet is talking about daybreak in this poem. He likens/compares
daybreak to a fisherman (because the latter would be seen stirring at this
time). He also describes in vivid detail the various scenes and sounds which are normally visually and audibly
appealing to one at daybreak. Such sights and sounds include: crowing cocks (roosters),
boats afloat in the bay/habour and houses. All of which become energized by and
illuminated with the first light of the sun during this early morning period. Moreover,
the night’s stars are overshadowed by daylight, while birds,
just awakening, sing praises for the return of sunlight. Without a doubt, the
rising (reemergence/entrance) of the sun(light) above the horizon and the simultaneous
displacement (diminishing presence/exit) of the darkness of the night evokes a sense of joy and euphoric celebration.
Like a fisherman, with harpoon and net in hand and
fishing boat in the bay (fishing gear), daybreak
comes for an early catch of renewed life in the form of animals and people who
are stirred by the light of a new day to freely move about once more—like the
fisherman, or a barefoot boy on the beach, or other people and animals.
Theme(s):
Daybreak (an awakening of/to life and light from
darkness); the Dawn (Birth) of a New
Day; Light’s Triumph Over Darkness.
Tone:
Descriptive; lighthearted; reflective
Mood:
Calmness; peace(fullness); tranquility; welcoming
affection
Literary
(poetic) Devices/Techniques: (examples of these are emphasized in italics below)
Metaphor:
Dawn
is a fisherman, his harpoon of light
Poised
for a throw – so swiftly morning comes (ll. 1-2).
The sun, a barefoot boy (l. 14).
Personification:
Among the trees the houses peep at the stars
Blinking
farewell (ll.7-8).
… and half-awakened
birds
Hurtle across the
vista, some in the distance
Giving
their voice self-criticized auditions (ll. 8-10).
Simile:
The darkness squats upon the sleeping
land
Like
a flung cast-net (ll. 3-4).
… and the black shapes of boats
Lie hunched like nestling turtles (ll. 4-5).
Alliteration:
Lie hunched like nestling turtles
(l. 5)
— the repetition of the consonant sound made by the
letter “L”
It should be noted that the aforementioned examples
of the poet’s literary craft may also interchange and exchange between literary
techniques. That is, an example of metaphor may equally and simultaneously serve
as an example of personification. An illustration of this is given below:
The sun, a barefoot
boy (metaphor), strides
briskly up (personification)
The curved beach of
the sky (metaphor), flinging
his greetings
Warmly in all
directions, laughing saying (personification)
(ll. 14-16).
Such warming
interplay of poetic devices/techniques further strengthens the notion that the
poem can be classified as an allegorical piece owing to the poet’s pervasive use
of the extended metaphor; a key feature of the allegory.
The reader is awakened by/to the Dawn of poetic insight and craftsmanship
which one gains from the study of poetry. A true vista of brilliance, joy and
foresight.
Note,
the poet’s use of the transitioning technique in the structure of the poem to
highlight this cyclical pattern or series of changes that occur in a person’s
life; in this case it is
… the old woman
Resting her chin
On her hand (ll. 8-10),
who
is the focus of the persona’s (poet’s) gaze in the second stanza. Furthermore,
the poet has skillfully demonstrated the transition from inanimate objects
(pencil and bowl) to a living person (an old woman) between the first and
second stanzas, respectively. As the pencil in the bowl begins
Rocking to and fro
Again and again
Back and forth
Slower and slower
Until it stops (ll. 3-7),
so
too has the old woman transitioned from a vibrant, energetic young person
(constantly ‘on the go’) into a stage of her life where she perhaps has become
house-bound, unable to move around much. She can only watch life as a
spectator, not as an ‘active’ participant any longer. Moreover, we see her reminiscing
on past life’s experiences with “Tired wistful eyes” (l. 12); an indication
that she has some regrets about the past. Unfortunately, she cannot go back in
time and change the events of her past life.
As
the rotating pencil gradually comes to a stop or cessation of motion, so too
are the stages of the cycle of life. The latter (human life cycle) generally
include pregnancy, infancy, the toddler years, childhood, puberty, older
adolescence, adulthood, middle age, and the senior years after which comes
death. That is, the motion of life (illustrated by the rocking/moving pencil in
a bowl) slowly comes to an end at the point of death.
The old woman has
lived out most of her life and has reached the end of life’s journey (her
twilight/winter years); furnished with the knowledge that (her) death (the
final stage of her life cycle) may not be far away.
OOW
2018
