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Pas de Quatre by Tatamkhulu Afrika
He loves Spain:
when he speaks of it I hear
guitars, smell sun.
She paints,
hides the paintings in her room,
shows me some.
My breath stills
at the tenderness of their line,
awareness of the eyes,
mouths that close
upon the silenced tongue.
She shuts the door, firmly, when we leave,
shows me her garden,
hemmed by its high
old hedges and greying boards.
I found her watering it
in the silence before the sun.
Unplanned,
it is as Eden might have been.
She knows each flower,
touches them with the tenderness her paintings hold,
loves the small green oranges she cups
like a maleness in her palms.
Birds swarm
round the feeder under the vines,
unperturbed and unappeased.
A dove flaps,
clumsily, in the stone
bath for smaller wings.
She speaks of it,
intimately, as of kin.
He is an old man,
but their love transcends
the brittleness of bone,
moves me, considerately, aside
for the moments they must share.
Afternoons,
clocks tick suddenly loud:
she,
stockinged feet on the settee,
spectacles askew,
reading liberation poetry or prose,
looking hardly half
her fifty or so years,
he sunken in the sham
comas of the old.
Later, she will tap,
delicately, on my door,
call 'Tea!'
in a little-girlloving-
me-singsong,
and I'll go out to home-baked scones,
baroque,
barely usable spoons,
cups and plates with patterns from an age
time has leached
of all save its lavender and lies,
and he'll re-engage me in reminiscences of a war
in which, at last, we meet,
whose ashes stir
with a sad and pointless fire as we blow.
And all the while
I'll be knowing she's about,
vast and black
as the township on the hill,
bustling,
even when she's still,
turning round and round
like a restless, lonely hound
in the taut,
dark dossdown of my mind.
I do not know her name:
was not given it:
could only hold her hand till she sensed
I did not see her as a table or a chair.
Sometimes I'd smile,
passing through the kitchen to my room.
She'd smile back but her eyes
stayed troubled as though we played
some not quite reputable game.
I sit here eating and I gag,
inwardly, on the bloodslicked
gristle of my heart.
Bruise-black
conserve soaks
into my scone's split halves.
My hand trembles as I take
up my cup, laugh
at witticisms barely heard.
Other side the wall,
alone in the silence we left her to,
she holds her mug in slow,
work-riven hands.
Black as space, her eyes
say nothing: say all.
She watches us through the wall.
Between me and them,
the shining table widens till I blink
away the imminence of my fall.
Their faces rush
back at me, soft with love.
But it is their hands I see:
when next I take them will I feel
the sharpness of their bones?
The woman chinks
down her mug,
moves around under my skin.
They ask me if I am well.
General Introduction
"Pas de Quatre" by Tatamkhulu Afrika is a poignant and evocative poem that captures the intricate dynamics and emotions within a household shared by three individuals. The poem delves into themes of love, aging, art, and underlying tensions, painting a vivid picture of the characters' interactions and inner worlds. Through rich imagery and careful use of literary devices, Afrika weaves a narrative that is both tender and fraught with unspoken complexities.
Title
The title "Pas de Quatre" refers to a ballet dance for four people. Although the poem primarily focuses on three characters—the speaker, an elderly man, and a woman—it suggests the complex and delicate dance of relationships among them. The title underscores the idea of movement, coordination, and the subtle balance needed to maintain harmony within their interactions.
Themes
1. Love and Companionship:
- The poem explores the deep connection between the elderly man and the woman. Their love "transcends the brittleness of bone" and is palpable in their interactions, offering a tender portrayal of enduring companionship despite the challenges of aging.
2. Art and Expression:
- The woman expresses herself through painting, and the speaker is moved by "the tenderness of their line, / awareness of the eyes." Her art is a private, intimate expression, mirroring the unspoken aspects of their relationships.
3. Aging and Mortality:
- The elderly man's "sham / comas of the old" and the speaker's contemplation of "the sharpness of their bones" highlight the inevitability of aging and the fragility of life, creating a somber undertone throughout the poem.
4. Isolation and Unseen Presence:
- The presence of the unnamed woman, who "watches us through the wall," embodies a sense of isolation. Her silent observation contrasts with the more visible interactions of the other characters, emphasizing the emotional distance and unspoken tensions.
5. Memory and Reminiscence:
- The elderly man's war stories and the speaker's reflections on past moments create a layer of nostalgia. The "sad and pointless fire" of their memories evokes a sense of longing and the bittersweet nature of remembering.
Literary Devices
1. Imagery:
- Afrika's use of vivid imagery, such as "guitars, smell sun" and "hemmed by its high / old hedges and greying boards," brings the scenes to life, immersing the reader in the sensory experiences of the characters.
2. Symbolism:
- The garden, described as "unplanned, / it is as Eden might have been," symbolizes an untouched, natural beauty, contrasting with the structured and often restrictive nature of human relationships.
3. Metaphor:
- The woman's interaction with the garden, where she "cups / like a maleness in her palms," serves as a metaphor for nurturing and the care she extends to both her plants and the people around her.
4. Juxtaposition:
- The juxtaposition of the elderly man's "sham comas" with the woman's vibrant engagement with her surroundings highlights the contrast between their ways of coping with aging and loneliness.
5. Alliteration:
- The poem employs alliteration, such as in "black / as the township on the hill, / bustling," to create a rhythmic quality and emphasize certain images and emotions.
6. Personification:
- Birds and flowers are given human-like qualities, such as "Birds swarm / round the feeder" and "each flower, / touches them with the tenderness," enhancing the connection between nature and the characters' inner lives.
Language and Mood
The language of the poem is lyrical and evocative, with a contemplative and melancholic mood. Afrika's choice of words and phrases creates a sense of intimacy and introspection, drawing the reader into the nuanced emotional landscape of the characters. The use of sensory details and gentle rhythm further amplifies the reflective tone, making the poem resonate on a deeply personal level.
Context
Tatamkhulu Afrika, a South African poet, often wrote about themes of identity, struggle, and human connections. "Pas de Quatre" reflects his sensitivity to the complexities of relationships and the subtle interplay of emotions within everyday interactions. The poem's setting and characters likely draw from Afrika's own experiences and observations, adding an autobiographical layer to the narrative.
Conclusion
"Pas de Quatre" by Tatamkhulu Afrika is a beautifully crafted poem that delves into the delicate dance of human relationships, exploring themes of love, art, aging, isolation, and memory. Through rich imagery and masterful use of literary devices, Afrika creates a poignant and immersive experience for the reader. The poem's contemplative mood and intimate portrayal of its characters leave a lasting impression, inviting reflection on the intricate dynamics that shape our lives.
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