The music of “Love After Love” is subtle, rather than flashy. For example, the poem contains no rhyming words; however, the absence of rhyme is more than made up for by the poet’s skillful use of word repetition, alliteration (repetition of initial consonant sounds), and assonance (repeated vowel sounds). In this way, Walcott subtly weaves together sound and meaning in the poem.
Even the title makes clever use of word repetition. By repeating the word “love,” the poet triggers a kind of vibration, a musical echo that resonates throughout the poem, as the word “love” recurs in lines 7, 9, and 12. In line 8, this same technique of word repetition evokes the reverent cadences of scripture (“Give wine. Give bread. Give back your heart”). See the “Shout-Outs” section to learn about possible allusions to Christianity in the poem.
Alliteration is another instrument in Walcott’s orchestra. Notice how the W sounds link lines 1 and 2 (“will” and “with”) and reinforce line 5 (“will […] welcome”). Whispering through lines 5, 6, and 7 are the S sounds of “smile,” “say, sit,” “stranger,” and “self.” The reassuring music of these words helps offset the anxiety that we, as readers, may naturally feel at the apparition of our own self emerging from the mirror.
Walcott makes more sparing use of assonance, but in two instances, the technique serves the poet’s thematic as well as musical purposes. In lines 2 and 3, the words “elation” and “greet” both sing out their long E sounds to celebrate the reunion of the two selves. Similarly, in lines 14 and 15, long E sounds pair two deeply symbolic actions (see “Symbols: Eating and Drinking”) associated with the words “peel” and “Feast.”
Of course, all of this sound pairing, echoing, and reflection is totally appropriate to a poem that’s all about how you should relate to… you. “Love After Love” is about reconnecting with your sense of self. And all of these sonic pairs add subtle encouragement to do just that.