Classic and Contemporary Poetry: Explained

Derek Walcott's "Midsummer: 28" is a deeply reflective poem that captures the intersection of nature, time, and personal reflection, especially as it pertains to parenthood and the fleeting nature of happiness. Walcott paints a vivid picture of a beach scene, where the passage of time and the cyclical patterns of nature are juxtaposed with human emotions and experiences. Through rich imagery and a meditative tone, the poem delves into the primal forces that shape both nature and human life.

The poem begins with an image of a child swinging "from the gnarled trapeze of a sea-almond branch." This opening line immediately evokes a sense of primal instinct, as the child’s playfulness is linked to something deep within human nature. The image of the child swinging from a tree branch is both simple and profound, representing innocence, freedom, and the connection between humanity and the natural world. Walcott's mention of the "gnarled" branch emphasizes the ancient and enduring quality of nature, something that persists through time and carries with it a sense of wisdom and history.

Walcott then introduces a comparison between the sea-almond tree and the "suffering in Van Gogh's orchards," connecting the natural shapes of the tree to the intense emotion found in Van Gogh's artwork. This comparison highlights the way art and nature both express primal forces—beauty, suffering, and the passage of time. Van Gogh's orchards, often twisted and tortured in their depiction, parallel the gnarled tree in the poem, both serving as symbols of life's complexities and struggles.

The poem shifts to a tranquil scene as "a bunch of sea grapes hangs over the calm sea." The calmness of the sea contrasts with the earlier mention of suffering, creating a sense of balance between turmoil and peace. The speaker, shoveling "shadows with a dry leaf," evokes a sense of idleness and contemplation, as if the shadows themselves are being moved by time and thought. The "shadows" are described as "warm as ash," a metaphor that suggests both comfort and the residue of something burned or spent, perhaps alluding to the passing of time and experiences that have left their mark.

As the sun moves toward its "rigid, inert centre," Walcott captures the oppressive heat of midday, when time seems to slow down and everything becomes still. Sunbathers are described as "broiling" on their "grid," a reference to the repetitive and structured nature of human activity, in contrast to the fluidity of the natural world. The shallows are so warm that even the "blear grouper" in the reef is affected, lunging "at nothing" and teased by minnows that seem to scatter without purpose. This scene suggests the interconnectedness of all life, where even the smallest changes in the environment can provoke reactions from larger creatures, highlighting the subtle yet powerful forces at play in nature.

Walcott continues to explore the theme of time with the image of a "breaker" that momentarily "glazes the sand," only for the sand to dry quickly once again. This fleeting moment is emblematic of the transient nature of life and happiness, where even the most beautiful or impactful experiences are temporary. The sea "suspires through the deep lungs of sponges," a poetic description that likens the ocean to a living organism, breathing and moving in a slow, rhythmic cycle that contrasts with human notions of time.

The thatched beach bar and its "clock [testing] its stiff elbow" every minute serve as a reminder of time’s relentless march. The image of the clock, an instrument of human measurement, contrasts with the natural rhythms of the sea, emphasizing how human life is governed by time, while nature moves according to its own laws. The old iguana, "as unloved as Quasimodo," climbs into the shade, another symbol of endurance and survival in the face of neglect or indifference. The reference to Quasimodo, the hunchbacked character from "The Hunchback of Notre Dame," adds a layer of melancholy to the poem, suggesting that even in the idyllic setting of the beach, there is a sense of isolation or displacement.

The speaker’s anxiety about time is further revealed when a cloud darkens the scene: "my terror caused it." This line reflects the speaker’s awareness of his own fears and the way they seem to influence his perception of the world around him. The presence of his daughters, "Lizzie and Anna," lying idly on rafts, brings a personal dimension to the poem. The speaker observes their carefree enjoyment of the day, while he is preoccupied with the knowledge that in "two more days [his] daughters will go home." This awareness of their impending departure adds a bittersweet layer to the poem, as the speaker grapples with the fleeting nature of happiness and the passage of time.

Walcott captures this tension in the line "The frame of human happiness is time," suggesting that happiness is always bounded by the limits of time, just as the child’s swing "slackens to a metronome." The swing, once a symbol of freedom and joy, becomes a reminder of the regularity and inevitability of time’s passage. The final image of happiness "sparkling on the sea like soda" conveys both the effervescence and transience of joy—bright, bubbly, and quickly disappearing.

In "Midsummer: 28," Walcott reflects on the intersection of nature, time, and personal relationships, using rich imagery to explore the fleeting nature of happiness and the inevitability of change. The poem captures a moment of both beauty and melancholy, as the speaker contemplates the passage of time and the ways in which it shapes human experience. Through the metaphor of the sea, the swing, and the clock, Walcott meditates on the tension between the permanence of nature and the impermanence of human life.

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