Our eyes then move from the buildings of the town to ‘our yachts tinkling and dancing in the bay/ like racehorses’. Onomatopoeia develops the light tone. ‘Tinkling’ employs synaesthesia (where the senses are mixed up). Here, a sound image conveys the visual image of the sunlight shimmering on the water. The simile is also striking; both yachts developing around him is one in which people’s standard of living is far improved from the conditions endured in the past.
From the darkness of the past to the brightness of the present, Mahon then turns to the promise of the future. There seems to be a genuine sense of relief that ‘We’ (the people of Ireland) can ‘contemplate at last’ an optimistic future for ourselves. This future is symbolised by the town’s ‘shining windows’, which we assume will open out into the ‘forbidden to no one’. This has the clear implication that in the past, there were those to whom such opportunities were ‘forbidden’. The kind of future Mahon envisages is inclusive, and religious or cultural heritage. With this sentiment, we may be reminded of the poem ‘The Chinese Restaurant in Portrush’.