decoration” make women discernible from men. In reading Herder’s text, women seem among
the constant universals in all cultures. Their “gentle endurance,” in marriage and motherhood are
commendable in every culture. Specifically, however, one may wonder why such a poetic
rendering of an unknown Taino fiancée would be the subject of Haitian poetry at all. Again, the
poem can be better appreciated by bringing other knowledge to mind, details about the Taino
which would hardly be known to readers outside Haiti today, but given the multiple contexts in
L’Union they would have been available to readers in the 1830s. Not only was Anacaona
believed herself to have been a poetess, for example, but the poetry of the Taino Indians in
general was called “aretyos” and was often composed spontaneously for special occasions such
as weddings and funerals.^119 With the break in the two parts of this poem, perhaps we can read
this first section as Ardouin’s description of Anacaona and her court, and the second part as an
imagining of this poetry itself, a rendition so to speak of Anacaona’s poetry, which may have
preceded or accompanied such a ceremony.
Floranna’s anticipation brings a flurry of emotions, even fear. The poem ends with thehope that her sleep will be full of reverie and her waking will bring happiness:
Quand elle dormira, mille songes dorés
Lui monteront la fête, et les guerriers parés
Et ses joyeuses sœurs, abeilles des allées,
Lui composant un lit de ce que les vallées, [...]
Oh! qu’un ange debout la contemple et la veille!
Qu’elle rêve en silence, et qu’elle se réveille
A la voix des oiseaux chantant l’aube du jour,
Heureuse ainsi, vivant de rosée et d’amour! (43-50)The poem ends with the dream of the wedding and not with the actual celebration. Sincethe references to Xaragua and Anacaona mean we cannot separate this peaceful scene with what
we know the historical reality to be, perhaps the poem can also be read allegorically, as an
(^119) Le Républicain le 1 mars 1837.