Classic and Contemporary Poetry: Explained

Derek Walcott’s "Parades, Parades" is a sharp critique of political spectacle, hollow rituals, and the persistence of colonial legacies even in the context of newly independent nations. The poem explores themes of repetition, stagnation, and disillusionment, particularly as they relate to postcolonial leadership and the continued subjugation of the people through symbols and ceremonies that reinforce old power dynamics. With striking imagery and an undercurrent of irony, Walcott challenges the significance of parades and political figures, highlighting the emptiness beneath the pageantry of statehood.

The poem opens with a depiction of vast, empty spaces—the desert, the ocean, the sky—yet no real progress or movement occurs within these spaces. "No one marches except in the pads of old caravans," and the keels of ships "incise the precise, old parallels," suggesting that while the world may appear to be moving forward, it is trapped in old patterns and repetitions. The landscape, whether it be desert, ocean, or sky, remains unchanging, much like the political systems Walcott critiques. The "same lines" scratched by jet trails and the "same somber gardens" of political spaces emphasize the stasis that governs political life. The "politicians plod without imagination," continuing the cycles of power and control without meaningful change.

Walcott introduces a powerful image of the "dry fountain" in the forecourt of a somber garden, which symbolizes the absence of vitality or renewal in the political landscape. The "gri-gri palms" and "dung pods" evoke a sense of decay and neglect, further reinforcing the poem’s theme of stagnation. The repetition of old, empty rituals in these barren spaces contrasts with the supposed progress or independence that is being celebrated in the parades.

As the poem moves into the spectacle of the Independence Parades, Walcott’s tone becomes increasingly ironic. The politicians, represented by the figure wearing the "plumed white cork-hat," are simply the latest iteration of the "fool" who holds power, and the only thing that changes in these ceremonies is "the name of the fool." The parades themselves are described as revolving "in calypso, to the brazen joy of the tubas," an image that evokes the lively music and vibrant culture of the Caribbean, but is juxtaposed with the hollow political ritual that accompanies it. The use of calypso music, traditionally a form of resistance and social commentary, here feels like a mockery of the pomp and ceremony surrounding Independence Parades.

Walcott then turns his attention to the "beautiful and unmarked children / in the uniforms of the country," whose eyes are "bewildered and shy" and "widen in terror of the pride drummed into their minds." This image captures the tension between the ideals of national pride and the fear and confusion that these political spectacles instill in the younger generation. The children's innocence is contrasted with the indoctrination they face, as the national pride they are taught to embrace is tied to the same old power structures that have failed to serve their people.

The poem questions the validity of the new political order, asking, "Were they truer, the old songs, when the law lived far away, / when the veiled queen... upheld the orb with its stern admonitions?" Here, Walcott reflects on the colonial past, when the power of the British monarchy was distant yet omnipresent. Even though the colonial era has ended, the new political order feels equally oppressive and disconnected from the people’s true needs. The "veiled queen" and her "stern admonitions" are replaced by local leaders who merely mimic the old forms of power, leaving the fundamental inequalities and injustices in place.

The poem reaches a crescendo with the arrival of "Papa," a figure who seems to represent a dictator or authoritarian leader. His "sleek, waddling seals of his Cabinet" surround him as he approaches the dais, symbolizing the sycophantic loyalty of his followers. The imagery of seals and trundling adds a grotesque, almost farcical quality to this display of power, further emphasizing the absurdity of the political spectacle. The wind, "putting its tail between the cleft of the mountains," and the wave that "coughs once, abruptly" suggest that even nature responds with a sense of resignation to this empty show of authority.

Walcott’s biting critique continues as he questions the meaning of the silence that follows the leader’s arrival. "Who will name this silence / respect?" he asks, suggesting that the silence of the people is not born of genuine reverence or awe, but rather of fear and submission. The "forced, hoarse hosannas" and the "tin-ringing tune" of the horns are equally hollow, representing the empty pageantry of the "New World." This New World, far from being a place of liberation and opportunity, is weighed down by the same old systems of control and oppression.

The final lines of the poem are particularly poignant, as the speaker reflects on the disillusionment of witnessing this spectacle unfold. The "look on the faces / of the electorate" is one of resignation and perhaps betrayal, as the people realize that the promises of independence and progress have not been fulfilled. The speaker's personal admission—"Tell me how it all happened, and why I said nothing"—is a moment of self-reflection and guilt. It acknowledges the complicity of silence in allowing these political farces to continue, and the personal responsibility of those who witness injustice but fail to speak out.

In "Parades, Parades," Walcott uses vivid imagery, irony, and historical references to critique the hollowness of political rituals in postcolonial societies. The poem exposes the persistence of old power structures, the disillusionment of the people, and the failure of new leaders to bring about meaningful change. Through its exploration of political spectacle and the repetition of history, the poem serves as a powerful commentary on the struggles of postcolonial nations to break free from the legacies of colonization.

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