Free to all souls the hidden beauty calls,
The sea thrift dwelling on her spray-swept height,
The lofty rose, the low-grown aconite,
The gliding river and the stream that brawls
Down the sharp cliffs with constant breaks and falls—
All these are equal in the equal light—
All waters mirror the one Infinite.
God made a garden, it was men built walls;
But the wide sea from men is wholly freed;
Freely the great waves rise and storm and break,
Nor softlier go for any landlord's need,
Where rhythmic tides flow for no miser's sake
And none hath profit of the brown sea-weed,
But all things give themselves, yet none may take.
Eva Gore-Booth's poem "Walls" presents a profound meditation on the inherent freedom and interconnectedness of nature, juxtaposed against the artificial constraints imposed by human society. Through vivid imagery and masterful use of poetic devices, Gore-Booth crafts a compelling argument for the inherent equality and beauty of all natural phenomena, while simultaneously critiquing the human tendency to create barriers and hierarchies. This analysis will explore the poem's structure, imagery, themes, and historical context to uncover the layers of meaning within Gore-Booth's deceptively simple fourteen lines.
"Walls" is structured as a Petrarchan sonnet, a form that traditionally consists of an octave (eight lines) followed by a sestet (six lines). This classical form is particularly well-suited to Gore-Booth's purpose, as it allows for a natural division between the poem's two main ideas: the universal beauty and equality found in nature, and the contrast with human-made restrictions.
The octave, with its ABBAABBA rhyme scheme, establishes the poem's central thesis of natural harmony and equality. The sestet, following a CDCDCD rhyme pattern, introduces the counterpoint of human intervention and limitation. This structure creates a rhetorical framework that supports Gore-Booth's argument, moving from the general to the specific, from the ideal to the real.
Gore-Booth's imagery is rich and varied, drawing from both terrestrial and aquatic realms to create a holistic vision of nature's beauty and diversity. The poem opens with "sea thrift," a hardy coastal plant that thrives in harsh conditions, symbolizing resilience and adaptability. This is juxtaposed with the "lofty rose" and "low-grown aconite," creating a vertical spectrum that encompasses both high and low, traditionally noble and humble flora.
Water imagery dominates the poem, from the "gliding river" to the "stream that brawls / Down the sharp cliffs." This flowing, dynamic imagery underscores the poem's themes of freedom and interconnectedness. The repeated reference to water - rivers, streams, and finally the sea - creates a sense of movement and expansion, mirroring the poem's philosophical progression from the particular to the universal.
The central metaphor of the poem, introduced in line 8, is that of the garden and walls. "God made a garden, it was men built walls" serves as a pivotal line, marking the transition from the octave to the sestet and introducing the human element into the previously untouched natural world. This allusion to the Garden of Eden carries significant weight, suggesting that human intervention in nature is a form of fall from grace, a departure from divine harmony.
At its core, "Walls" is a celebration of natural equality and a critique of human-imposed hierarchies and limitations. The repeated emphasis on equality - "All these are equal in the equal light" - reinforces Gore-Booth's vision of a world where all elements of nature, regardless of their perceived status or utility, share in the same divine essence.
The poem's title, "Walls," only appears explicitly in the pivotal eighth line, but the concept permeates the entire work. Walls serve as a multifaceted symbol, representing not only physical barriers but also the mental and social constructs that separate humans from nature and from each other. By contrasting the freedom of the sea with the enclosed garden, Gore-Booth suggests that true liberation comes from rejecting these artificial divisions.
The sestet develops this theme further, focusing on the sea as the ultimate symbol of freedom and natural order. The "rhythmic tides" that flow "for no miser's sake" present a model of existence free from human notions of ownership and profit. The final lines, "And none hath profit of the brown sea-weed, / But all things give themselves, yet none may take," encapsulate Gore-Booth's vision of a world based on mutual giving rather than individual taking.
Eva Gore-Booth, an Irish poet and dramatist active in the late 19th and early 20th centuries, was deeply involved in social and political activism, particularly in the areas of women's suffrage and workers' rights. "Walls" can be read as a reflection of her progressive ideals, advocating for a breaking down of societal barriers and a return to a more egalitarian way of life.
The poem's themes resonate with the Romantic tradition, particularly in its reverence for nature and critique of human society. However, Gore-Booth's approach is distinctly modern in its concision and in the subtlety of its argument. The influence of the Celtic Revival is also evident in the poem's use of Irish natural imagery and its underlying spiritual sensibility.
Gore-Booth's command of language is evident in the poem's sonic qualities. The alliteration in phrases like "stream that brawls" and "constant breaks and falls" creates a sense of movement and rhythm that mirrors the natural phenomena being described. The assonance in lines such as "All waters mirror the one Infinite" adds a musical quality to the verse, enhancing its meditative tone.
The poem's diction is carefully chosen to reinforce its themes. Words like "free," "equal," and "Infinite" are juxtaposed against terms like "walls," "landlord," and "profit," creating a linguistic dichotomy that underscores the poem's central conflict between natural freedom and human-imposed restrictions.
"Walls" engages with several philosophical concepts, including pantheism, the idea that divinity permeates all of nature. The line "All waters mirror the one Infinite" suggests a unity underlying the apparent diversity of natural phenomena, a concept that aligns with both pantheistic and neoplatonic thought.
The poem also grapples with questions of ownership and the relationship between humans and nature. By asserting that "none hath profit of the brown sea-weed," Gore-Booth challenges capitalist notions of natural resources as commodities to be exploited. Instead, she proposes a model of mutual giving and receiving that echoes ecosophical and deep ecological perspectives.
Eva Gore-Booth's "Walls" is a masterful exploration of the tension between natural harmony and human-imposed divisions. Through its carefully structured form, vivid imagery, and profound thematic content, the poem invites readers to reconsider their relationship with the natural world and with each other. By contrasting the boundless freedom of nature with the artificial constraints of human society, Gore-Booth challenges us to break down the walls that separate us from the divine unity she perceives in the natural world.
The enduring relevance of "Walls" lies in its ability to speak to contemporary concerns about environmental exploitation, social inequality, and the search for meaning in an increasingly fragmented world. As we continue to grapple with these issues in the 21st century, Gore-Booth's vision of a world without walls, where "all things give themselves, yet none may take," remains a powerful and inspiring ideal.