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WALES, by             Poet Analysis     Poet's Biography

In "Wales," Derek Walcott draws on the rich history and landscape of Wales to explore themes of language, heritage, and the intersection of past and present. The poem invokes the imagery of the Welsh countryside and its deep cultural and historical roots, contrasting the natural beauty of the land with the darker memories of conquest and industrialization. Through intricate wordplay and allusions, Walcott emphasizes the resilience of Welsh culture, language, and identity, while acknowledging the forces that have attempted to reshape or suppress it.

The poem opens with the image of "white flecks cropping the ridges of Snowdon," referring to both the sheep that graze on the mountain and the snow that will "come wintering down" as the seasons change. Snowdon, the highest mountain in Wales, serves as a powerful symbol of the country’s natural beauty and rugged landscape. The image of these "flecks" descending from the mountain evokes a sense of the inevitability of winter, as well as the cyclical nature of time and history.

Walcott’s use of "alliterative hills" and "caesura" — a pause in the middle of a poetic line — introduces the theme of language early in the poem. The hills themselves are described as "alliterative," a nod to the rich poetic tradition of Wales, particularly its use of complex alliteration in forms like "cynghanedd". The "caesura" in the landscape metaphorically represents a gap, both literal and historical, through which "the Legions" — the Roman invaders — once entered Wales. This moment introduces the theme of conquest and the long history of foreign powers imposing themselves on the Welsh people.

The "dark disfigured mouths of the chapels" reference the religious buildings that have played a central role in Welsh life, particularly during times of hardship and oppression. The disfigurement of the chapels suggests the wear of time and the impact of industrialization or neglect on these once-vital spaces. Despite this, the poem suggests that a "white silence" — perhaps representing purity, peace, or the inevitable covering of snow — will come to "green-throated Wales." This image merges the natural world with the cultural one, suggesting a deep connection between the land and the people who inhabit it.

Walcott’s language becomes more musical as he describes the natural landscape, with "rusty gorges" and "cold rustling gorse." These lines evoke the rugged beauty of the Welsh countryside, where nature and history are intertwined. The rocks are "hard as consonants," a metaphor that reflects the Welsh language itself, known for its complex consonantal sounds. The "rain-vowelled shales" further the connection between the landscape and language, suggesting that even the natural elements, like rain and shale, participate in the shaping of Welsh culture and identity.

The poem then transitions to a deeper historical layer with the mention of "the shallow-buried axe, helmet, and baldric," artifacts of past wars and invasions. These symbols of military power and conflict lie buried beneath the surface, echoing the layers of history that still shape the present. The "wet asphalt sibilance of tires" brings the reader back to modern times, contrasting the ancient artifacts with the noise of contemporary life. The juxtaposition of past and present suggests that history is never fully buried; it continues to resonate, even as the world moves forward.

The image of a "plump raven, Plantagenet," unfurling its "heraldic caw" over the landscape introduces a sense of nobility and historical legacy. The raven, associated with death and prophecy in various mythologies, here represents the long and complex history of Wales, including its connections to English royalty through the Plantagenet dynasty. The "heraldic" nature of the raven’s call suggests that this history is both noble and burdensome, as it continues to echo over the land.

Walcott’s depiction of "blackened cottages with their stony hatred / of industrial fires" reflects the darker side of Welsh history, particularly the industrial revolution, which transformed much of Wales into a center for coal mining and steel production. The "stony hatred" suggests the deep resentment felt by the rural Welsh population toward the industrial forces that altered their way of life and scarred their landscape. Despite these challenges, the Welsh people continue to "share" their language "like bread to the mouth," a symbol of sustenance and survival. The language, like bread, is essential to life, and it is shared among the people, even in the face of hardship.

The final image of "white flocks to dark byres" reinforces the theme of resilience, as the sheep — symbols of continuity and tradition — are brought into the byres (barns) as night falls. The contrast between the "white flocks" and "dark byres" suggests the ongoing struggle between light and darkness, tradition and modernity, but also the enduring presence of Welsh culture and identity through all these changes.

In "Wales," Derek Walcott weaves together the natural beauty of the Welsh landscape with its complex history of invasion, industrialization, and cultural survival. Through rich, alliterative language and evocative imagery, the poem explores the deep connection between the land, its people, and their language, emphasizing the resilience of Welsh identity in the face of external pressures. Walcott’s meditation on Wales becomes a broader reflection on how places and their histories shape the lives and identities of those who call them home.


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