Classic and Contemporary Poetry: Explained

In "Signs: 4," Derek Walcott uses the image of clouds as a metaphor to explore Europe’s turbulent history, the lingering effects of conflict, and the impermanence of both memory and evil. The poem weaves together themes of war, displacement, and the passage of time, focusing on the way historical events—particularly those tied to Europe’s violence—cast a long shadow over the present. Walcott’s imagery, filled with references to geography, nature, and art, creates a sweeping meditation on the cyclical nature of history and humanity’s futile efforts to escape the consequences of past actions.

The poem opens with a stark metaphor: "That cloud was Europe, dissolving past the thorn branches of the lignum-vitae, the tree of life." The image of Europe as a dissolving cloud suggests that the continent, with all its historical significance and weight, is ephemeral—something that is ultimately fading. The thorny branches of the "lignum-vitae", also known as the "tree of life," create a striking contrast between life and destruction. The image of a dissolving Europe against the backdrop of the "tree of life" hints at the fragility of civilization, where even great empires and powers inevitably decline, leaving only remnants.

Walcott continues with the image of a "thunderhead" that remains over the islands, "in crests of arrested avalanches." This thunderhead represents the lingering effects of Europe’s past—specifically its colonialism and wars—which still hang over the Caribbean and other regions once shaped by European dominance. The "arrested avalanches" signify destruction that has been halted, but not fully resolved, waiting to fall again. The line "a blizzard on a screen in snow-speckled campaigns" evokes images of war, suggesting that the same conflicts continue to play out on the world stage, with only the borders and policies shifting.

Walcott introduces the ominous presence of wolves, describing them as having "red berries for eyes" and their howling trailing off "in wisps of smoke like the frozen cloud over bridges." The wolves, symbolic of danger and predatory forces, lurk beyond Europe’s borders, perhaps representing both the external threats to Europe and the internal forces of violence and destruction that have plagued its history. The "wisps of smoke" evoke the aftermath of war, where destruction fades into memory, yet still haunts the landscape.

The poem shifts to Poland, with the "barge of Poland slowly floating downstream with magisterial scansion." Poland, historically caught between powerful empires and frequently a victim of invasion, is depicted as drifting in a slow, stately manner, as though its fate is inescapable, but carried with dignity. The reference to "St. Petersburg’s minarets a cloud" blends the image of Russia’s imperial architecture with the transience of clouds, suggesting the fleeting nature of political and cultural dominance.

Walcott’s observation that "clouds are forgotten like battles. Like snow in spring. Like evil" underscores the poem’s central theme of impermanence. Battles and conflicts, no matter how devastating, eventually fade from collective memory, much like snow melts away in the changing seasons. Even evil, which at one point might have seemed all-encompassing, is forgotten or diminished over time. Yet Walcott also implies that this forgetting is dangerous, as it leads to the repetition of history’s darkest moments.

The speaker shifts perspective with a call to "Play Timon then, and curse all endeavor as vile," invoking Timon of Athens, the misanthropic Shakespearean character who turns his back on humanity after being betrayed. The speaker suggests that, in the face of such cycles of destruction and the apparent futility of human effort, one might be tempted to adopt a nihilistic attitude, dismissing all endeavors as worthless. The "combers"—waves cresting on the shore—are indifferent to human suffering and continue their motion "to no avail," reflecting nature’s disregard for human concerns. The speaker’s shadow, startling the quick crabs that "stiffen until you pass," suggests that even in the natural world, there is a sense of fear and stillness in the face of approaching danger or power, reinforcing the theme of human dominance over nature, but also its fleeting effect.

Walcott returns to the theme of Europe’s historical weight, shifting to Amsterdam, where the sight of clouds signals "spring to the Babylonian willows" budding again. The reference to "Babylonian willows" in Amsterdam ties the ancient history of exile and displacement to the more modern European landscape. Just as the willows in Amsterdam bud and bloom again each spring, so too does Europe return to life after periods of destruction and decay. The crowds described "like in Pissarro along a wet boulevard's branches" evoke the paintings of Camille Pissarro, whose works often depicted bustling Parisian streets. This artistic reference adds to the sense of Europe as a place of cyclical beauty and destruction, where art and culture continue despite the horrors of history.

The sound of "Cracow" in the distance "like artillery" reminds the reader of the city’s association with violence, particularly its role in World War II and the Holocaust. The mention of "tanks and snow" immediately evokes the brutal winter campaigns of the war, where soldiers and civilians alike were caught in the relentless grip of conflict. The "walls riddled with bullet-holes" that "like cotton-wool, close" suggests the ways in which these scars of war are hidden or forgotten over time, even as they remain physically present.

In "Signs: 4," Walcott explores the interplay between history, memory, and nature, using the metaphor of clouds to represent the impermanence of both Europe’s cultural and political power and the human capacity for evil. The poem reflects on the cyclical nature of destruction and regeneration, suggesting that while Europe—and humanity—can rise again after periods of devastation, the same forces of violence and conflict remain ever-present. Walcott’s use of art, history, and geography creates a rich tapestry of references, grounding his meditation on the ephemeral nature of human endeavor in both the specific events of Europe’s past and the broader, universal cycles of life. Ultimately, the poem offers a sobering reflection on the way history repeats itself, even as its lessons are forgotten.

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