Classic and Contemporary Poetry: Explained

N. Scott Momaday’s "Carriers of the Dream Wheel" is a meditation on oral tradition, collective memory, and the sacred act of storytelling. The poem presents the "wheel of dreams" as both a literal and symbolic entity—one that turns upon the voices of those who carry it, preserving the fundamental truths of existence. It is a poem about continuity, where language itself is the means by which the past is sustained and centered within the present.

The opening declaration—"This is the Wheel of Dreams"—immediately establishes the poem’s ceremonial tone. The wheel, a powerful symbol in many Indigenous traditions, represents cycles, movement, and the interconnectedness of life. Here, it is explicitly tied to dreams, suggesting that history, myth, and vision are inextricably linked. The phrase "Which is carried on their voices" reinforces the idea that tradition is transmitted orally, passed down through generations not as written texts but as spoken words, embodying the rhythm of the living voice.

The next lines—"By means of which their voices turn / And center upon being"—highlight the transformative power of storytelling. The wheel, in turning, represents not just motion but the shaping of identity and existence. The phrase "center upon being" suggests that the act of speaking and remembering is not just a recitation of the past but a way of anchoring oneself in the present. Oral tradition becomes a form of presence, a means of reaffirming existence through language.

Momaday then expands the scope of the wheel’s power: "It encircles the First World, / This powerful wheel." The reference to the "First World" aligns the poem with Indigenous cosmologies in which the earth and sky were named and shaped in the beginning times. The wheel is not confined to a single moment—it moves through all of creation, holding within it the ancestral knowledge that defines the world. It is "powerful" because it does not merely recount history; it actively shapes reality through the continuation of sacred stories.

The poem shifts to the role of those who carry this wheel: "They shape their songs upon the wheel / And spin the names of the earth and sky, / The aboriginal names." This moment underscores the creative and sustaining force of oral tradition. The singers do not simply recite—they "shape" their songs, actively engaging with the tradition to ensure its vitality. The reference to "aboriginal names" is significant; it suggests that naming is an act of power, one that affirms Indigenous identity and cosmology. To name the "earth and sky" is to claim and reaffirm a worldview that predates colonial renaming, asserting the primacy of the original language and its sacred meanings.

The final stanza focuses on the figures responsible for this transmission: "They are old men, or men / Who are old in their voices." This distinction is crucial. The carriers of the dream wheel are not necessarily defined by age, but by the wisdom and weight of their voices. Their authority comes not from years alone but from their role as custodians of tradition. The emphasis on voice highlights the oral nature of this knowledge—it is not written down but spoken, remembered, and performed.

The closing lines bring the poem to a communal invitation: "And they carry the wheel among the camps, / Saying: Come, come, / Let us tell the old stories, / Let us sing the sacred songs." The repetition of "Come, come" creates a rhythmic, almost chant-like quality, reinforcing the ceremonial nature of the invitation. The stories and songs are not mere entertainment but sacred acts, binding the community together through shared memory and experience. The phrase "old stories" suggests continuity, while "sacred songs" affirms that this tradition is spiritual as well as cultural.

"Carriers of the Dream Wheel" is a reverent acknowledgment of the role of oral tradition in sustaining Indigenous identity and cosmology. Momaday’s language is simple yet profound, mirroring the weight and rhythm of the voices he describes. The wheel, as a symbol of eternal movement, ensures that the knowledge of the First World is never lost but continues to turn through the voices of those who remember. In this way, the poem itself becomes part of the tradition it honors—a voice carrying the dream wheel forward, calling others to listen, to remember, and to sing.

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