Classic and Contemporary Poetry: Explained

In "Tales of the Island: 2. 'Qu'un Sang Impur.'" Derek Walcott weaves a portrait of fading aristocracy and familial obligation, focusing on the figure of Cosimo de Chrétien, a count whose life is shaped by his heritage, his mother's dominance, and the slow decay of his lineage. The poem explores themes of time, pride, and the burden of maintaining family honor, all while subtly commenting on colonial history and the lingering remnants of a once-glorified past.

"Qu'un Sang Impur" is a phrase from the French national anthem, "La Marseillaise". It translates to "Let impure blood" in English and is part of a larger line in the anthem where it refers to the blood of enemies who oppose the French Revolution, expressing a call to arms and defiance against foreign invaders or those seen as impure threats to the French Republic. It  serves as a symbolic reference to colonial and racial themes. It could be interpreted as commenting on the racial and social hierarchies that existed in colonial societies, where certain groups were deemed "impure" or inferior.

Cosimo de Chrétien, the poem’s central figure, is introduced as a man who "controlled a boardinghouse," an image that evokes a certain sense of decline. The notion of aristocracy, symbolized by the "count," now operates a modest boardinghouse, indicating how far the family has fallen from its once prestigious standing. His mother, referred to as "maman," still manages him, reflecting the control she exerts over his life, as well as the stagnation of his independence. The setting of the boardinghouse, located on "No. 13, Rue St. Louis," is imbued with a sense of history, the French colonial influence evident in the name, as well as in the old-world artifacts it houses.

The "perroquet" (parrot) and the "curio-shop" suggest the presence of relics from another era, where the remnants of the past are preserved but stripped of their original meaning. The "black dolls" and the "old French barquentine / Anchored in glass" indicate the exoticism and nostalgia for colonial times, where both the distant voyages of exploration and the commodification of other cultures were celebrated. The barquentine, a type of ship, is "anchored in glass," frozen in time and preserved as a mere object of curiosity, much like the family's once-great lineage.

Upstairs, the "family sword" and the "rusting ikon of a withered race" symbolize the decaying pride of Cosimo’s ancestry. The sword, an emblem of aristocratic power and honor, is now rusting, indicating the inevitable decline of the family’s influence. The phrase "the first angel's kept its pride of place" links the sword to the family’s origins, suggesting a noble history that still clings to its former dignity despite its deterioration. However, the use of "withered race" emphasizes that the family’s grandeur is fading, a relic of the past that can no longer sustain itself in the present.

The poem also delves into the theme of duty and familial responsibility, as Cosimo is reminded "to keep his word / Never to bring the lineage to disgrace." This reflects the weight of tradition and the pressure to maintain the family’s honor, even as time and circumstance erode its significance. The image of "Devouring Time, which blunts the Lion's claws" alludes to Shakespeare’s sonnets and the theme of time as a force that diminishes even the mightiest. Cosimo, like the lion, is subject to the ravages of time, and his family’s once-powerful status has been dulled by the passage of generations.

Walcott introduces a subtle irony in Cosimo’s life, describing him as the "count of curios," a playful title that suggests Cosimo himself is one of the many artifacts in the boardinghouse. His life, dictated by his mother’s expectations and societal obligations, has left him "fairly chaste," a description that evokes both purity and the lack of fulfillment. The mention of "hair oil" and "whist" further diminishes Cosimo’s significance, reducing him to a figure preoccupied with mundane, superficial concerns, such as grooming and card games, rather than the noble pursuits one might expect from a count.

The poem ends with Cosimo "peering from balconies for his tragic twist," suggesting a man waiting for some dramatic event or meaningful purpose to give his life significance. The "tragic twist" evokes a sense of theatricality, as if Cosimo sees himself as a character in a play or novel, awaiting the moment that will define his legacy. However, this moment never seems to arrive, and Cosimo remains trapped in his position as a relic of the past, much like the curios in his shop.

"Tales of the Island: 2. 'Qu'un Sang Impur.'" captures the slow erosion of colonial aristocracy, the burdens of maintaining a fading lineage, and the emptiness of clinging to traditions that no longer hold relevance in the modern world. Through the character of Cosimo de Chrétien, Derek Walcott explores themes of decay, duty, and the passage of time, highlighting the tension between pride in one’s heritage and the inevitable decline that time brings. The poem is both a critique of the colonial legacy and a poignant reflection on the human desire to preserve identity and meaning in the face of change.

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