You ask him something in his ear; He thinks about it for a Year; and, then, before he says a Word, There, upside down unlike a Bird He will assume that you have Heard- A most Ex-as-per-at-ing Lug. But should you call his manner Smug, He'll sigh and give his Branch a Hug; Then off again to Sleep he goes, Still swaying gently by his Toes, And you just know he knows he knows.
Roethke believed, like the Romantics, that ultimate meaning grew from the encounter of the sensitive individual with nature in an attempt to determine personally the relationship between humankind and all existence.
Open House, despite its expansive title, contains poems that are rather guarded in their expression. Roethke shows that he can manage traditional forms such as the sonnet and the Spenserian stanza, so that the emphasis is more on pleasing the assumed academic audience rather than saying what he himself wants to say in a manner that is unmistakably his.
In the first and title poem, Roethke states that he will tell all his secrets and withhold nothing from the reader, but the poem remains on a general level, and the secrets are not named. The last two lines, however, produce a shudder: Roethke abandoned his attempt to please an audience of older, accepted poets in the poems collected in his next book, The Lost Son, and Other Poems.
As a child, he was small enough to get under the benches where the roses and other flowers grew in order to cut and pull away the roots and undergrowth that were not wanted. Although the emphasis in this poem is on the horror and fright of the young boy thrust into the grimy scene, later Roethke would use the union of life and death as a central theme of his poetry.
Life both feeds upon death and arises from death; it is impossible to separate the two, which are part of the same process.
In this volume, Roethke sees nature not only as overwhelmingly powerful but also as a comforting friend. Here he comes closest to his Romantic predecessors, such as William Wordsworth and Samuel Taylor Coleridge, but there is a difference. He finally comments on bacteria, which can be seen only with a microscope; each organism has its role to play in the cycle of life.
Roethke is the poet of small nature: Toads, slugs, sparrows, and minnows are the heroes of his poems. He dips into his unconscious to find a way out of his depression and confusion and regresses to childhood, using the meter and subject of nursery rhymes and childish taunts to gain some understanding of the roots of his problem.
At the end of the poem, he has not attained understanding but at least finds solace. To others, these poems present Roethke as most himself and provide a deep well from which interpretations and insights may be continually drawn.
In The Waking, Roethke continues the long confessional and personal poems but also begins to write poems of a more traditional form and content in which he acknowledges his kinship with and debt to other poets, chief among them W. From Yeats, Roethke borrowed the metaphor of the dance as a symbol for the totality and interaction of all life, as well as certain stylistic approaches to poetry: In his earlier collections, Roethke had firmly established his own style and approach; now he could move back to the world of traditional The entire section is 3, words.attheheels.com: A searchable archive of classic and contemporary poetry, articles about poetry, analysis, and reviews.
View Homework Help - fish, sparrow, attheheels.com from HCDE 10 at Chattanooga State Mid College High School. Elizabeth Downey The Fish by Elizabeth Bishop, The Christmas Sparrow by Billy Collins, and. Marvin Klotz (PhD, New York University) is a professor of English emeritus at California State University, Northridge, where he taught for thirty-three years and won Northridge's distinguished teaching award in He is also the winner of two Fulbright professorships (in Vietnam and Iran) and was a National Endowment for the Arts Summer Fellow attheheels.com: $ "The Sloth" by Theodore Roethke.
In moving-slow he has no Peer. You ask him something in his Ear, He thinks about it for a Year; And, then, before he says a Word There, upside down (unlike a Bird), He will assume that you have Heard--A most Ex-as-per-at-ing Lug.
But should you call his manner Smug. The Sloth. by Theodore Roethke. The Sloth. In moving slow he has no Peer. You ask him something in his Ear.
He thinks about it for a Year. And, then before he says a Word. There, upside down (unlike a Bird) He will assume that you have Heard. Essays - largest database of quality sample essays and research papers on Essay On The Sloth Theodore Roethke.