Carpet-weavers, Morocco
By Carol Rumens
The children are at the loom of another world.
Their braids are oiled and black, their dresses bright.
Their assorted heights would make a melodious chime.They watch their flickering knots like television.
As the garden of Islam grows, the bench will be raised.
Then they will lace the dark-rose veins of the tree-tops.The carpet will travel in the merchant’s truck.
It will be spread by the servants of the mosque.
Deep and soft, it will give when heaped with prayer.The children are hard at work in the school of days.
From their fingers the colours of all-that-will-be fly
and freeze into the frame of all-that-was.
Summary of Carpet-weavers, Morocco
- Popularity of “Carpet-weavers, Morocco”: The poem “Carpet-weavers, Morocco” by Carol Rumens is a descriptive and evocative work that portrays the dedicated labor of children weaving carpets for mosques, offering a glimpse into a different way of life and raising questions about childhood, work, and cultural context.
- “Carpet-weavers, Morocco” as a Representative of Wonder: The poem captures a stark contrast between the lives of these Moroccan children and those in more industrialized nations. While children elsewhere might be engaged in play and schooling, these children are fully immersed in the skilled work of carpet weaving. Rumens observes the situation with quiet intensity, suggesting a sense of timelessness and the enduring power of tradition. The carpets become symbols of faith and cultural continuity, destined to be “spread by the servants of the mosque” and to offer comfort during prayer.
- Major Themes in “Carpet-weavers, Morocco”: Central to the poem are themes of childhood, labor, cultural practice, and the passage of time. The poem delicately explores the complexities of child labor, acknowledging the skill and dedication of these young weavers while hinting at the loss of innocence. The enduring nature of the carpets, destined to become part of a religious space, contrasts with the fleeting years of the children’s youth. The poem subtly prompts readers to consider the different values and priorities that shape lives in various parts of the world.
Analysis of Literary Devices Used in Carpet-weavers, Morocco
Carol Rumens masterfully employs various literary devices to create a poem rich in imagery and meaning. These devices work together to elevate the poem beyond a simple description of a scene, inviting deeper reflection on its themes.
- Assonance: The repetition of vowel sounds adds musicality and resonance to the poem. The short ‘i’ sound in “flickering” and the short ‘o’ sound in “knots” create a subtle harmony that mirrors the rhythmic motion of weaving.
- Alliteration: The repetition of consonant sounds, such as the ‘b’ in “braids” and “black” in the first stanza, draws attention to specific phrases and creates a pleasing auditory effect.
- Consonance: The repetition of the ‘f’ sound in “From their fingers the colours… fly and freeze” reinforces the sense of movement and transformation.
- Enjambment: The use of enjambment, where a phrase or sentence continues onto the next line without punctuation, is prevalent throughout the poem. For example, in the last stanza:
From their fingers the colours of all-that-will-be fly
and freeze into the frame of all-that-was.This technique creates a sense of fluidity and momentum, mirroring the continuous process of weaving and the passage of time.
- Imagery: Rumens relies heavily on vivid imagery to bring the scene to life. Phrases like “braids are oiled and black” and “deep and soft” engage the reader’s senses and create a strong visual and tactile experience. The image of the carpet “lacing the dark-rose veins of the tree-tops” is particularly striking, blending the physical and metaphorical realms.
- Simile: The line “They watch their flickering knots like television” is a simile, comparing the repetitive motion of the weaving to the hypnotic glow of a television screen. This comparison highlights the children’s absorption in their work and suggests a certain detachment from the outside world.
Analysis of Poetic Devices Used in “Carpet-weavers, Morocco”
Beyond literary devices, Rumens skillfully employs specific poetic techniques to shape the poem’s meaning and impact.
- Free Verse: The poem is written in free verse, meaning it does not adhere to a strict rhyme scheme or meter. This lack of traditional structure allows Rumens to create a more natural and conversational tone, mirroring the unhurried pace of life in the Moroccan setting.
- Tercet: Each stanza consists of three lines, a form known as a tercet. This relatively concise stanza length contributes to the poem’s overall sense of restraint and understatement.
- Stanza Form and Structure: The poem is comprised of four tercet stanzas. This structure provides a sense of order and containment, while also allowing for a degree of flexibility in rhythm and phrasing. The consistent stanza form creates a subtle musicality, enhancing the poem’s overall aesthetic appeal.
Quotes to be Used
The following lines are particularly resonant and can be used to spark discussion about child labor, cultural differences, and the passage of time.
The children are hard at work in the school of days.
From their fingers the colours of all-that-will-be fly
and freeze into the frame of all-that-was.
This powerful closing stanza encapsulates the poem’s central themes. The image of the children working “in the school of days” suggests that their labor is both their education and their destiny. The phrase “colours of all-that-will-be” evokes the promise of the future, while “freeze into the frame of all-that-was” acknowledges the inevitable passage of time and the enduring legacy of their work.
Through careful observation and skillful use of language, Carol Rumens has crafted a poem that is both beautiful and thought-provoking. “Carpet-weavers, Morocco” invites readers to consider the complexities of life in a different culture and to reflect on the universal themes of childhood, work, and the passage of time.