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In 5 pages, the author investigates the trope of song in the works of Derek Walcott. Several passages are taken from Walcott's writing. Bibliography lists 3 sources.
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5 pages (~225 words per page)
File: D0_Walcottd.doc
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bards that he loved so well in his youth. His work contains allegory through and through. It is in a genre all its own. Walcott won the
Nobel Laureate for his writing. Walcott heard and absorbed a Creole patois that was all around him, having come
of age on the Windward Island of St. Lucia, which was then a British dependency. The English he learned in school was almost a foreign tongue. He felt
that it made him value English more for that reason. The influences of the Caribbean and the resounding literary traditions of English are fused in his art. The
Elizabethans, Virgil and Horace, and other classical bards join with the rhythms of island speech and the sea to temper his work. Even as it retained the pungency of
spoken, living words, such a background preserved his poetry from perils of the folkloric and insular (Taylor 85). One can
hear Keats, Robert Lowell, Eliot and others in Walcotts poetry. Yet, he never seems derivative. He is essentially a lyric poet who uses language with a keen sense
of its visual potential. He paints with words. Not only is Walcott intensely visual, he is often relaxed and playful, blending high diction and the vernacular in unexpected
ways (Taylor 85). The following is an example of a poem by Derek Walcott, entitled "MAP OF THE NEW WORLD I ARCHIPELAGOES."
At the end of this sentence, rain will begin.
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