A Critical Essay on Theodore Roethke’s “My Papa’s Waltz” Analysis

How can a verse lick written more than fifty dollar bill years ago manage to find a more modern translation, and inspire a healthy yet critical discussion betwixt classicists and modernist subscribers or audiences? much(prenominal) is the charm exhibited by the song My Papas Waltz written by Theodore Roethke. Even before jumping slap-up to the discussion of the meat and matter, or the content of the poem itself, there is already so much to say about the poem if we argon to suppose its literary merit in terms of form.NARRATIVE STRUCTURE, LANGUAGE AND RHYMEThe poem is genuinely easily understood and is presented in a clear chronological order, from the era the father comes home, up to the conclusion of the waltz with the speaker in the poem hit to bed (Roethke). Because of a clear chronology of events, the poem is light, delightful, and yet, remains thought-provoking.The dustup used is also very light and appropriate, as it is seen that the speaker in the poem is a child and the addressee is the papa, or the father of the speaker (Roethke). Such easy vocabulary is appropriate for the speaker in the poem, thus creating a high level of believability in the reader and lending credibility to the speaker in the poem.We see clearly and immediately the distinction amongst the speaker and the addressee, and we can also create in our minds the right profile for both speaker and addressee in the poem. The rhyme scheme is A-B-A-B-C-D-C-D-E-F-E-F-G-H-G-H.There is a howling(prenominal) mix of masculine rhymes like head-bed in lines 13 and 15 (Roethke), and dirt- apparel in lines 14 and 16 (Roethke) and feminine rhymes like dizzy-easy in lines 1 and 3 (Roethke), and press- pant in lines 10 and 12 (Roethke) in the poem. The few sloppy rhymes erect in the poem are also interesting since they can be, again, attri anded to the concomitant that the speaker is a person of tender age.IMAGERY AND FIGURATIVE LANGUAGEThe narrative coordinate of the poem is further bolstered by a clear and vivid definition of images. The very first two lines The whiskey on your schnorchel/Could drag in and quarter a small boy dizzy (Roethke) clearly and certainly presents a clear mental picture, where, not only the minds eye, plainly as well as other senses are equal to(p) to act to be specific, in these lines, the sense of smell.Even the minds ears are able to participate in the sensory experience of the poem as bear witness by lines 5 and 6 We romped until the pans/Slid from the kitchen shelf (Roethke) where one could easily get wind the racket that these pans sliding off kitchen shelves may have caused.This poem is patently a delight to the senses The use of figurative language is superior as well. With lines 7 and 8 My mothers countenance/Could not unfrown itself (Roethke), and the final lines Then waltzed me off to bed/ Still clinging to your shirt (Roethke) are excellent and very originative use of figurative language, not to mention it being far from clich.The poem is a brilliant gem of literature that exhibits mastery, not only of poetic form, but as well as content. Speaking of content, this is exactly what has been correction of heated debates and lively discussion regarding the theme or the reading of the poem.DUALITY OF READINGThe poem presents a multilayered theme, capable of multiple readings. This conflict of reading and recitation of the poems thematic or symbolic meaning stems from a difference in reader response to the poem.Most classicists view the poem as an innocent and nostalgic retelling of a bonding time between a doting father and a beloved son/child. On the other end of the spectrum are the modernists interpretation of the poem as one which speaks of child abuse by somatogenetic punishment of a drunk father.The classicists argue that a reading of a poem should also take into consideration the era or issue at the time of the poems writing. They argue that the poem should not only be read and appreciated or criticized by utilise intrinsic information within the poem, but also extrinsic factors, such(prenominal) as the reference to line 1s whiskey breath (Roethke), and lines 7 and 8s mothers countenance (Roethke).The modernists are in the view that this is not an enjoyable scenario for a child when such a dance is considered not easy (Roethke) in line 4, as well as a hung to death(Roethke) in line3. Furthermore, violence is suggested by the hand holding on to the personas wrist in line 9, which is described as batter in one knuckle in line 10. There is also a strong breath of violence by the scrapping of the right ear in a buckle at every misstep (Roethke) in lines 11 and 12. Delivering the final get to the coffin of the argument are the final lines 15 and 16s waltzing off to bed still clinging to the abusive fathers shirt (Roethke), which shows reluctance and forcible tucking in of the speaker to the bed.I identify with the modernists in the reading and interpretatio n of this poem. I see violence and abuse in the poem, but to debate on such matters would be to entirely miss the shew. The point here is that, this work is a marvelous piece of literature because it has the never-ending quality of a classic, as well as a multi-faceted and multi-layered interpretation.After all, a good poem should impart a significant human experience, and it should draw from the reader, empathy, and a participation of the senses. Whether this is a nostalgic recall of good generation between father and child or a violent event of child abuse, the fact remains that the poem succeeds both in form and substance or content, and transcends time, is of essence. Its allowing for multiple readings is only a testament to the superior qualities of this timeless classic.