'The Schooner 'Flight'' by Derek Walcott

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1 Adios, Carenage

In idle August, while the sea soft,
and leaves of brown islands stick to the rim
of this Carribean, I blow out the light
by the dreamless face of Maria Concepcion
to ship as a seaman on the schooner Flight.
Out in the yard turning gray in the dawn,
I stood like a stone and nothing else move
but the cold sea rippling like galvanize
and the nail holes of stars in the sky roof,
till a wind start to interfere with the trees.
I pass me dry neighbor sweeping she yard
as I went downhill, and I nearly said:
"Sweep soft, you witch, 'cause she don't sleep hard,"
but the bitch look through me like I was dead.
A route taxi pull up, park-lights still on.
The driver size up my bags with a grin:
"This time, Shabine, like you really gone!"
I ain't answer the ass, I simply pile in
the back seat and watch the sky burn
above Laventille pink as the gown
in which the woman I left was sleeping,
and I look in the rearview and see a man
exactly like me, and the man was weeping
for the houses, the street, that whole fucking island.

Christ have mercy on all sleeping things!
>From that dog rotting down Wrightson Road
to when I was a dog on these streets;
if loving these islands must be my load.
out of corruption my soul takes wings,
But they had started to poison my soul
with their big house, big car, big time bohbohl,
coolie, nigger, Syrian and French Creole,
so I leave it for them and their carnival -
I taking a sea bath, I gone down the road.
I know these islands from Monos to Nassau,
a rusty head sailor with sea-green eyes
that they nickname Shabine, the patois for
any red nigger, and I, Shabine, saw
when these slums of empire was paradise.
I'm just a red nigger who love the sea,
I had a sound colonial education,
I have Dutch, nigger, and English in me,
and either I'm nobody, or I'm a nation,

But Maria Concepcion was all my thought
watching the sea heaving up and down
as the port side of dories, schooners, and yachts
was painted afresh by the strokes of the sun
signing her name with every reflection;
I knew when dark-haired evening put on
her bright silk at sunset, and, folding the sea,
sidled under the sheet with her starry laugh,
that there'd be no rest, there'd be no forgetting.
Is like telling mourners round the graveside
about resurrection, they want the dead back,
so I smile to myself as the bow rope untied
and the Flight swing seaward:"Is no use repeating
that the sea have more fish. I ain't want her
dressed in the sexless light of a seraph,
I want those round brown eyes like a marmoset, and
till the day when I can lean back and laugh,
those claws that tickled my back on sweating
Sunday afternoons, like a crab on wet sand."

As I worked, watching the rotting waves come
past the bow that scissor the sea like milk,
I swear to you all, by my mother's milk,
by the stars that shall fly from tonight's furnace,
that I loved them, my children, my wife, my home;
I loved them as poets love the poetry
that kills them, as drowned sailors the sea.

You ever look up from some lonely beach
and see a far schooner? Well, when I write
this poem, each phrase go be soaked in salt;
I go draw and knot every line as tight
as ropes in this rigging; in simple speech
my common language go be the wind,
my pages the sails of the schooner Flight.
But let me tell you how this business begin.

2 Raptures of the Deep

Smuggled Scotch for O'Hara, big government man,
between Cedros and the Main, so the Coast Guard couldn't touch us,
and the Spanish pirogues always met us halfway,
but a voice kept saying: "Shabine, see this business
of playing pirate?" Well, so said, so done!
That whole racket crash. And I for a woman,
for her laces and silks, Maria Concepcion.
Ay, ay! Next thing I hear, some Commission of Enquiry
was being organized to conduct a big quiz,
with himself as chairman investigating himself.
Well, I knew damn well who the suckers would be,
not that shark in shark skin, but his pilot fish,
khaki-pants red nigger like you or me.
What worse, I fighting with Maria Concepcion,
plates flying and thing, so I swear: "Not again!"
It was mashing up my house and my family.
I was so broke all I needed was shades and a cup
or four shades and four cups in four-cup Port of Spain;
all the silver I had was the coins on the sea.

You saw them ministers in The Express,
guardians of the poor - one hand at their back,
and one set o'police only guarding their house,
and the Scotch pouring in through the back door.
As for that minister-monster who smuggled the booze,
that half-Syrian saurian, I got so vex to see
that face thick with powder, the warts, the stone lids
like a dinosaur caked with primordial ooze
by the lightning of flashbulbs sinking in wealth,
that I said: "Shabine, this is shit, understand!"
But he get somebody to kick my crutch out his office
like I was some artist! That bitch was so grand,
couldn't get off his high horse and kick me himself.
I have seen things that would make a slave sick
in this Trinidad, the Limers' Republic.

I couldn't shake the sea noise out of my head,
the shell of my ears sang Maria Concepcion,
so I start salvage diving with a crazy Mick,
name O'Shaugnessy, and a limey named Head;
but this Carribean so choke with the dead
that when I would melt in emerald water,
whose ceiling rippled like a silk tent,
I saw them corals: brain, fire, sea fans,
dead-men's-fingers, and then, the dead men.
I saw that the powdery sand was their bones
ground white from Senegal to San Salvador,
so, I panic third dive, and surface for a month
in the Seamen's Hostel. Fish broth and sermons.
When I thought of the woe I had brought my wife,
when I saw my worries with that other woman,
I wept under water, salt seeking salt,
for her beauty had fallen on me like a sword
cleaving me from my children, flesh of my flesh!

There was this barge from St. Vincent, but she was too deep
to float her again. When we drank, the limey
got tired of my sobbing for Maria Concepcion.
He said he was getting the bends. Good for him!
The pain in my heart for Maria Concepcion,
the hurt I had done to my wife and children,
was worse than the bends. In the rapturous deep
there was no cleft rock where my soul could hide
like the boobies each sunset, no sandbar of light
where I could rest, like the pelicans know,
so I got raptures once, and I saw God
like a harpooned grouper bleeding, and a far
voice was rumbling, "Shabine, if you leave her,
if you leave her, I shall give you the morning star."
When I left the madhouse I tried other women
but, once they stripped naked, their spiky cunts
bristled like sea eggs and I couldn't dive.
The chaplain came round. I paid him no mind.
Where is my rest place, Jesus? Where is my harbor?
Where is the pillow I will not have to pay for,
and the window I can look from that frames my life?

3 Shabine Leaves the Republic

I had no nation now but the imagination.
After the white man, the niggers didn't want me
when the power swing to their side.
The first chain my hands and apologize, "History";
the next said I wasn't black enough for their pride.
Tell me, what power, on these unknown rocks -
a spray-plane Air Force, the Fire Brigade,
the Red Cross, the Regiment, two, three police dogs
that pass before you finish bawling "Parade!"?
I met History once, but he ain't recognize me,
a parchment Creole, with warts
like an old sea bottle, crawling like a crab
through the holes of shadow cast by the net
of a grille balcony ; cream linen, cream hat.
I confront him and shout, "Sir, is Shabine!
They say I'se your grandson. You remember Grandma,
your blck cook, at all?" The bitch hawk and spat.
A spit like that worth any number of words.
But that's all them bastards have left us: words.

I no longer believed in the revolution.
I was losing faith in the love of my woman.
I had seen that moment Aleksandr Blok
crystallize in The Twelve. Was between
the Police Marine Branch and Hotel Venezuelana
one Sunday at noon. Young men without flags
using shirts, their chests waiting for holes.
They kept marching into the mountains, and their
noise ceased as foam sinks into sand.
They sank in the bright hills like rain, every one
with his own nimbus, leaving shirts in the streets,
and the echo of power at the end of the street.
Propeller-blade fans turn over the Senate;
the judges, they say, still sweat in carmine,
on Frederick Street the idlers all marching
by standing still, the Budget turns a new leaf.
In the 12.30 movies the projectors best
not break down, or you go see revolution. Aleksandr Blok
enters and sits in the third row of pit eating choc-
olate cone, waiting for a spaghetti West-
ern with Clint Eastwood and featuring Lee Van Cleef.

4 The Flight, Passing
Blanchisseuse.

Dusk. The Flight passing Blanchisseuse.
Gulls wheel like from a gun again,
and foam gone amber that was white,
lighthouse and star start making friends,
down every beach the long day ends,
and there, on that last stretch of sand,
on a beach bare of all but light,
dark hands start pulling in the seine
of the dark sea, deep, deep inland.

5 Shabine Encounters the
Middle Passage

Man, I brisk in the galley first thing next dawn,
brewing li'l coffee; fog coil from the sea
like the kettle steaming when I put it down
slow, slow, 'cause I couldn't believe what I see:
where the horizon was one silver haze,
the fog swirl and swell into sails, so close
that I saw it was sails, my hair grip my skull,
it was horrors, but it was beautiful.
We float through a rustling forest of ships
with sails dry like paper, behind the glass
I saw men with rusty eyeholes like cannons,
and whenever their half-naked crews cross the sun,
right through their tissue, you traced their bones
like leaves against the sunlight; frigates, barkentines,
the backward-moving current swept them on,
and high on their decks I saw great admirals,
Rodney, Nelson, de Grasse, I heard the hoarse orders
they gave those Shabines, and that forest
of masts sail right through the Flight,
and all you could hear was the ghostly sound
of waves rustling like grass in a low wind
and the hissing weds they trail from the stern;
slowly they heaved past from east to west
like this round world was some cranked water wheel,
every ship pouring like a wooden bucket
dredged from the deep; my memory revolve
on all sailors before me, then the sun
heat the horizon's ring and they was mist.

Next we pass slave ships. Flags of all nations,
our fathers below deck too deep, I suppose,
to hear us shouting. So we stop shouting. Who knows
who his grandfather is, much less his name?
Tomorrow our landfall will be the Barbados.

6 The Sailor Sings Back to the
Casuarinas

You see them on the low hills of Barbados
bracing like windbreaks, needles for hurricanes,
trailing, like masts, the cirrus of torn sails;
when I was green like them, I used to think
those cypresses, leaning against the sea,
that take the sea noise up into their branches,
are not real cypresses but casuarinas.
Now captain just call them Canadian cedars.
But cedars, cypresses, or casuarinas,
whoever called them so had a good cause,
watching their bending bodies wail like women
after a storm, when some schooner came home
with news of one more sailor drowned again.
Once the sound "cypress" used to make more sense
than the green "casuarinas", though, to the wind
whatever grief bent them was all the same,
since they were trees with nothing else in mind
but heavenly leaping or to guard a grave;
but we live like our names and you would have
to be colonial to know the difference,
to know the pain of history words contain,
to love those trees with an inferior love,
and to believe: "Those casuarinas bend
like cypresses, their hair hangs down in rain
like sailors' wives. They're classic trees, and we,
if we live like the names our masters please,
by careful mimicry might become men."

7 The Flight Anchors in
Castries Harbor

When the stars self were young over Castries,
I loved you alone and I loved the whole world.
What does it matter that our lives are different?
Burdened with the loves of our different children?
When I think of your young face washed by the wind
and your voice that chuckles in the slap of the sea?
The lights are out on La Toc promontory,
except for the hospital. Across at Vigie
the marina arcs keep vigil. I have kept my own
promise, to leave you the one thing I own,
you whom I loved first: my poetry.
We here for one night. Tomorrow, the Flight will be gone.

8 Fight with the Crew

It had one bitch on board, like he had me mark -
that was the cook, some Vincentian arse
with a skin like a gommier tree, red peeling bark,
and wash-out blue eyes; he wouldn't give me a ease,
like he feel he was white. Had an exercise book,
this same one here, that I was using to write
my poetry, so one day this man snatch it
from my hand, and start throwing it left and right
to the rest of the crew,bawling out, "Catch it,"
and start mincing me like I was some hen
because of the poems. Some case is for fist,
some case is for tholing pin, some is for knife -
this one was for knife. Well, I beg him first,
but he kept reading, "O my children, my wife,"
and playing he crying, to make the crew laugh;
it move like a flying fish, the silver knife
that catch him right in the plump of his calf,
and he faint so slowly, and he turn more white
than he thought he was. I suppose among men
you need that sort of thing. It ain't right
but that's how it is. There wasn't much pain,
just plenty blood, and Vincie and me best friend,
but none of them go fuck with my poetry again.

9 Maria Concepcion & the Book of Dreams

The jet that was screeching over the Flight
was opening a curtain into the past.
"Dominica ahead!"
"It still have Caribs there."
"One day go be planes only, no more boat."
"Vince, God ain't made nigger to fly through the air."
"Progress, Shabine, that's what it's all about.
Progress leaving all we small islands behind."
I was at the wheel, Vince sitting next to me
gaffing. Crisp, bracing day. A high-running sea.
"Progress is something to ask Caribs about.
They kill them by millions, some in war,
some by forced labor dying in the mines
looking for silver, after that niggers; more
progress. Until I see definite signs
that mankind change, Vince, I ain't want to hear.
Progress is history's dirty joke.
Ask that sad green island getting nearer."
Green islands, like mangoes pickled in brine.
In such fierce salt let my wound be healed,
me, in my freshness as a seafarer.

That night, with the sky sparks frosty with fire,
I ran like a Carib through Dominica,
my nose holes choked with memory of smoke;
I heard the screams of my burning children,
I ate the brains of mushrooms, the fungi
of devil's parasols under white, leprous rocks;
my breakfast was leaf mold in leaking forests,
with leaves big as maps, and when I heard noise
of the soldiers' progress through the thick leaves,
though my heart was bursting, I get up and ran
through the blades of balisier sharper than spears:
with the blood of my race, I ran, boy, I ran
with moss-footed speed like a painted bird;
then I fall, but I fall by an icy stream under
cool fountains of fern, and a screaming parrot
catch the dry branches and I drowned at last
in big breakers of smoke; then when that ocean
of black smoke pass, and the sky turn white,
there was nothing but Progress, if Progress is
an iguana as still as a young leaf in sunlight.
I bawl for Maria, and her Book of Dreams.

It anchored her sleep, that insomniac's Bible,
a soiled orange booklet with a cyclop's eye
center, from the Dominican Republic.
Its coarse pages were black with the usual
symbols of prophecy, in excited Spanish:
an open palm upright, sectioned and numbered
like a butcher chart, delivered the future.
One night, in a fever, radiantly ill,
she say, "Bring me the book, the end has come."
She said, "I dreamt of whales and a storm,"
but for that dream, the book had no answer.
A next night I dreamed of three old women
featureless as silkworms, stitching my fate,
and I scream at them to come out of my house,
and I try beating them away with a broom,
but as they go out, so they crawl back again,
until I start screaming and crying, my flesh
raining with sweat, and she ravage the book
for the dream meaning, and there was nothing;
my nerves melt like a jellyfish - that was when I broke -
they found me round the Savannah, screaming:

All you see me talking to the wind, so you think I mad.
Well, Shabine has bridled the horses of the sea;
you see me watching the sun till my eyeballs seared,
so all you mad people feel Shabine crazy,
but all you ain't know my strength, hear? The coconuts
standing by in their regiments in yellow khaki,
they waiting for Shabine to take over these islands,
and all you best dread the day I am healed
of being a human. All you fate in my hand,
ministers, businessmen, Shabine have you, friend,
I shall scatter your lives like a handful of sand,
I who have no weapon but poetry and
the lances of palms and the sea's shining shield!

10 Out of the Depths

Next day, dark sea. A arse-aching dawn.
"Damn wind shift sudden as a woman mind."
The slow swell start cresting like some mountain range
with snow on the top.
"Ay, skipper, sky dark!"
"This ain't right for August."
"This light damn strange,
this season, sky should be clear as a field."

A stingray steeplechase across the sea,
tail whipping water, the high man-o'-wars
start reeling inland, quick, quick an archery
of flying fish miss us! Vince say: "You notice?"
and a black-mane squall pounce on the sail
like a dog on a pigeon, and it snap the neck
of the Flight and shake it from head to tail.
"Be Jesus, I never see sea get so rough
so fast! That wind come from God back pocket!"
"Where Cap'n headin? Like the man gone blind!"
"If we's to drong, we go drong, Vince, fock-it!"
"Shabine, say your prayers, if life leave you any!"

I have not loved those that I loved enough.
Worse than the mule kick of Kick-'Em-Jenny
Channel, rain start to pelt the Flight between
mountains of water. If I was frighten?
The tent poles of water spouts bracing the sky
start wobbling, clouds unstitch at the seams
and sky water drench us, and I hear myself cry,
"I'm the drowned sailor in her Book of Dreams."
I remembered those ghost ships, I saw me corkscrewing
to the sea bed of sae worms, fathom past fathom,
my jaw clench like a fist, and only one thing
hold me, trembling, how my family safe home.
Then a strength like it seize me and the strength said:
"I from backward people who still fear God."
Let Him, in His might, heave Leviathan upward
by the winch of His will, the beast pouring lace
from his sea-bottom bed; and that was the faith
that had fade from a child in the Methodist chapel
in Chisel Street, Castries, when the whale-bell
sang service and, in hard pews ribbed like the whale,
proud with despair, we sang how our race
survive the sea's maw, our history, our peril,
and now I was ready for whatever death will.
But if that storm had strength, was in Cap'n face,
beard beading with spray, tears salting his eyes,
crucify to his post, that nigger hold fast
to that wheel, man, like the cross held Jesus,
and the wounds of his eyes like they crying for us,
and I feeding him white rum, while every crest
with Leviathan-lash made the Flight quail
like two criminal. Whole night, with no rest,
till red-eyed like dawn, we watch our travail
subsiding, subside, and there was no more storm.
And the noon sea get calm as Thy Kingdom come.

11 After the Storm

There's a fresh light that follows a storm
while the whole sea still havoc; in its bright wake
I saw the veiled face of Maria Concepcion
marrying the ocean, then drifting away
in the widening lace of her bridal train
with white gulls her bridesmaids, till she was gone.
I wanted nothing after that day.
Across my own face, like the face of the sun,
a light rain was falling, wih the sea calm.

Fall gently, rain, on the sea's upturned face
like a girl showering; make these islands fresh
as Shabine once knew them! Let every trace,
every hot road, smell like clothes she just press
and sprinkle with drizzle. I finish dream;
whatever the rain wash and the sun iron:
the white clouds, the sea and sky wih one seam,
is clothes enough for my nakedness.
Though my Flight never pass the incoming tide
of this inland sea beyond the loud reefs
of the final Bahamas, I am satisfied
if my hand gave voice to one people's grief.
Open the map. More islands there, man,
than peas on a tin plate, all different size,
one thousand in the Bahamas alone,
from mountains to low scrub with coral keys,
and from this bowsprit, I bless every town,
the blue smell of smoke in hills behind them,
and the one small road winding down them like twine
to the roofs below; I have only one theme:
The bowsprit, the arrow, the longing, the lunging heart -
the flight to a target whose aim we'll never know,
vain search for an island that heals with its harbor
and a guiltless horizon, where the almond's shadow
doesn't injure the sand. There are so many islands!
As many islands as the stars at night
like falling fruit around the schooner Flight.
But things must fall, and so it always was,
on one hand Venus, on the other Mars;
fall, and are one, just as this earth is one
island in archipelagoes of stars.
My first friend was the sea. Now, is my last.
I stop talking now. I work, then I read,
cotching under a lantern hooked to the mast.
I try to forget what happiness was,
and when that don't work, I study the stars.
Sometimes is just me, and the soft-scissored foam
as the deck turn white and the moon open
a cloud like a door, and the light over me
is a road in white moonlight taking me home.
Shabine sang to you from the depths of the sea.

Anonymous submission.

Editor 1 Interpretation

The Schooner 'Flight': A Masterpiece of Poetry by Derek Walcott

Have you ever read a poem that made you feel like you were traveling across the sea? That's how I felt when I first read Derek Walcott's "The Schooner 'Flight'". This classic poem is a masterpiece of poetry that takes the reader on a journey through the Caribbean Sea, exploring themes of freedom, identity, and history.

The Poem's Background

"The Schooner 'Flight'" was written by Derek Walcott in 1979 and is considered one of his most famous works. Walcott was born in St. Lucia, an island in the Caribbean, and his works often explore the history, culture, and identity of the Caribbean people. "The Schooner 'Flight'" is no exception, as it tells the story of a sailor named Shabine who is searching for freedom and identity.

The Poem's Structure

Before we dive into the poem's themes, let's take a look at its structure. "The Schooner 'Flight'" is written in free verse, which means it doesn't follow a specific rhyme scheme or meter. Instead, the poem is structured in a way that mimics the movement of a ship on the sea. The lines are broken in such a way that they create a sense of undulation, as if the words are being carried by the waves.

The poem is divided into four sections, each of which represents a different stage in Shabine's journey. The first section sets the scene, describing the schooner and its crew. The second section introduces Shabine and his desire for freedom. The third section explores the theme of identity, as Shabine reflects on his mixed heritage. The final section brings the poem to a close, as the schooner sails off into the distance.

The Theme of Freedom

At its core, "The Schooner 'Flight'" is a poem about freedom. Shabine is a sailor who longs to be free from the constraints of society and the expectations of others. He sees the sea as a place of escape, where he can be himself and live on his own terms.

This theme is expressed throughout the poem in various ways. In the first section, we see the schooner as a symbol of freedom, as it sails "a thousand miles from land". In the second section, Shabine longs to "be free again, to be at sea again", where he can "shed from [his] mind...the syllables of other men's names".

But the poem also explores the darker side of freedom. Shabine is a man who is constantly on the move, never settling in one place for too long. He is always searching for something, but he never quite finds it. The final line of the poem, "And the schooner headed for the open sea", suggests that Shabine's journey is never-ending, and that true freedom may be impossible to achieve.

The Theme of Identity

Alongside the theme of freedom, "The Schooner 'Flight'" also explores the theme of identity. Shabine is a man who is torn between two worlds - his African heritage and his European upbringing. He struggles to reconcile these two parts of himself, and often feels like he doesn't fully belong in either world.

This theme is expressed in the third section of the poem, as Shabine reflects on his mixed heritage. He says, "I have no nation now but the imagination...what country's music is this?". Shabine's identity is not tied to any one place or culture, but is instead shaped by his experiences and his imagination.

But the poem also suggests that identity is something that can be elusive and ever-changing. Shabine is a man who is constantly on the move, and as a result, his identity is always in flux. The sea becomes a metaphor for this idea, as it is a place of constant change and transformation.

The Poem's Language

One of the things that makes "The Schooner 'Flight'" such a powerful poem is its language. Walcott's use of imagery and metaphor creates a vivid picture of the sea and the people who sail on it.

The imagery in the poem is particularly striking. In the first section, we see the sea as a "vast, grey, steel-drum", while the schooner is described as "a gliding arc". These images create a sense of movement and fluidity, as if the sea and the ship are one and the same.

The metaphor of the sea as a place of freedom is also powerful. In the second section, Shabine describes the sea as a place where he can "slip the shackles of the land". This metaphor suggests that the sea is a place where one can be free from the constraints of society and the expectations of others.

Conclusion

In conclusion, "The Schooner 'Flight'" is a masterpiece of poetry that explores themes of freedom, identity, and history. Walcott's use of language and structure creates a vivid picture of the sea and the people who sail on it, while the themes of the poem speak to the universal human experience of seeking freedom and identity.

If you haven't read "The Schooner 'Flight'" yet, I highly recommend it. This poem is a testament to the power of poetry and its ability to transport us to new worlds and new experiences.

Editor 2 Analysis and Explanation

The Schooner 'Flight' by Derek Walcott is a classic poem that captures the essence of the Caribbean culture and the struggles of its people. The poem is a masterpiece that showcases the beauty of the Caribbean and the challenges that its people face. In this analysis, we will explore the themes, literary devices, and the overall message of the poem.

The poem is set in the Caribbean and tells the story of a schooner named 'Flight' and its journey through the Caribbean Sea. The poem is divided into four parts, each representing a different stage of the journey. The first part of the poem describes the schooner's departure from the harbor and its journey through the sea. The second part of the poem describes the schooner's encounter with a British ship and the tension that arises between the two ships. The third part of the poem describes the schooner's journey through a storm, and the final part of the poem describes the schooner's arrival at its destination.

One of the main themes of the poem is the struggle of the Caribbean people against colonialism and oppression. The encounter between the schooner 'Flight' and the British ship in the second part of the poem represents the struggle of the Caribbean people against the British Empire. The tension between the two ships is a metaphor for the tension between the colonizers and the colonized. The poem also highlights the resilience of the Caribbean people in the face of adversity. The schooner 'Flight' represents the Caribbean people, who despite facing numerous challenges, continue to persevere and overcome.

The poem is also rich in literary devices, which add to its beauty and depth. One of the most prominent literary devices used in the poem is imagery. The poet uses vivid descriptions of the sea, the sky, and the landscape to create a vivid picture of the Caribbean. For example, in the first part of the poem, the poet describes the sea as "a sheet of glass" and the sky as "a dome of blue." These descriptions create a serene and peaceful image of the Caribbean.

Another literary device used in the poem is symbolism. The schooner 'Flight' is a symbol of the Caribbean people and their struggle for freedom. The storm that the schooner encounters in the third part of the poem is a symbol of the challenges that the Caribbean people face in their struggle against colonialism and oppression. The storm represents the obstacles that the Caribbean people must overcome to achieve their freedom.

The use of repetition is another literary device used in the poem. The repetition of the phrase "the sea is history" throughout the poem emphasizes the importance of the sea in the history and culture of the Caribbean. The repetition of this phrase also highlights the poet's belief that the sea is a source of strength and resilience for the Caribbean people.

The poem also has a powerful message that is relevant even today. The poem highlights the importance of cultural identity and the need to preserve it. The Caribbean culture is unique and diverse, and the poem celebrates this diversity. The poem also highlights the importance of unity among the Caribbean people in their struggle against oppression. The schooner 'Flight' represents the unity of the Caribbean people, who despite their differences, come together to overcome their challenges.

In conclusion, The Schooner 'Flight' by Derek Walcott is a masterpiece that captures the essence of the Caribbean culture and the struggles of its people. The poem is rich in themes, literary devices, and a powerful message that is relevant even today. The poem celebrates the beauty of the Caribbean and the resilience of its people. The poem is a testament to the importance of cultural identity and the need to preserve it. The poem is a call to unity among the Caribbean people in their struggle against oppression. The Schooner 'Flight' is a timeless classic that will continue to inspire and captivate readers for generations to come.

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