Theodore Roethke의 "Cuttings," "Cuttings (later)," "My Papa's Waltz"
작성자임재한작성시간03.05.17조회수694 목록 댓글 0
발표문입니다. 근데 가만 보니 틀린 영어가 좀 있었더라구요. 다 영언데 몇 개만 한국말 쓰기가 이상해서 영작 좀 했는데 문법이 틀려서리.. 아, 쪽팔려.. ^^ 험험, 아뭏튼 저희 발표문은 그 자체로 완성본이라기보다 발표를 돕는 자료라는 개념으로 썼습니다. 그래야 발표 나름의 가치도 있고 하니깐요. 그래서 시 해석한 부분이나 리듬 설명한 부분은 나와 있지 않고, 또 완전한 문장 대신 발표를 들은 사람이라면 다시 볼 때 기억할 수 있도록 그렇게 요점만 토막내어 썼습니다. 도움 되시길...
Theodore Roethke (1908-1962)
Grandfather and father had greenhouses. “The greenhouse is my symbol for the whole of life, a womb. A heaven-on-earth.” Felt close to elemental processes and inanimate as well as animate objects. “I could say hello to things.” Studied the lives on a leaf. “I lose and find myself in the long waters.” “I live in air; the long light is my home.” “I longed to be that thing, the pure, sensuous form. And I may be, some time.” Visionary intertwining of his spiritual self with leaves, water, light, and lower creatures.
Authority for making nature a parable came from his love and intensive study of it. Depression, nervous breakdowns & alcoholism.
“I have a driving sincerity, --that prime virtue of any creative worker. I write only what I believe to be the absolute truth, --even if I must ruin the theme in so doing.”
Presented himself in his verse as a naïve.
Won Pulitzer Prize in 1953. American canon & influence over a subsequent generation of award-winning poets.
Cuttings
Thirteen flower poems that comprise the first section of The Lost Son & Other Poems. The two opening lyrics, “Cuttings” & “Cuttings (later)."
(interpretation)
Resurrection of life.
Movements of the poet’s eyes: distance from the sticks > close-up (intricate stem-fur) > penetrate into the plant > rest under the soil. Roethke struggles through to a fuller, more participatory way of seeing, and the cutting comes back to life. A parallel.
A compulsive fascination.
Cuttings (later)
(interpretation)
Creation is a humiliation, with the plants “sucking” and “sobbing.” The dead stems struggling to regain vitality. Resurrection. Analogy to the saint as if the biological struggle were a penitential process.
Metaphor of the fish, the irreducible denominator of all life, the half-way point between plant and animal. Interdependence of all living matter. Roethke wishes to recover from the biological the pure unidirectional impulse toward life, but it is an impulse terrifying to him in its sheer tenacity.
No distance between the plant and the poet.
Generalizations on the two poems
The rooting of poetry in sensuous experience.
The search for naïve, even prerational modes of expression. Nausica.
A more dynamic concept of the correspondence between the vegetable and the human. In “Cuttings”, a parallel, in “Cuttings (later)”, unity.
A primal, organic struggle that sparks correspondent beginnings within the poet's interior life, his own imaginative birth.
Stylistic use of hyphenation. Hyphenating nouns and modifiers into unexpected surrealistic juxtapositions (“sticks-in-a-drowse,” “stem-fur,” “sand-crumb,” “sheath-wet”) jars conventional experience of nature.
Colloquial diction. Direct & rustic. Use of Anglo-Saxon monosyllabic words. Appeals to our basic rooting in the unconscious. Intuitive & evocative.
By employing assonance, consonance, onomatopoeia, and spondaic stress patterns (two long or stressed syllables), Roethke recreates the alien textures of the glasshouse landscape.
Irregular stress patterns. Playing against the iambic pattern. "memorable" and "passionate" verbal performances.
My Papa’s Waltz
Death of his father from cancer in 1923, when Roethke was 15. “I think the old Hardy looks down from heaven on this.”
(interpretation)
The overall tone and feeling contains love and pain and humor and nostalgia all blended.
From the psychological view, we can talk about love-hate relationships, childhood idealization of the father, family tensions and conflicts, the borderline between play and violence, etc. But we might benefit from just concentrating on the particulars because every image in this poem deserves to be pondered and tasted to the full for their emotional richness.
Feel the rhythm.
Theodore Roethke (1908-1962)
Grandfather and father had greenhouses. “The greenhouse is my symbol for the whole of life, a womb. A heaven-on-earth.” Felt close to elemental processes and inanimate as well as animate objects. “I could say hello to things.” Studied the lives on a leaf. “I lose and find myself in the long waters.” “I live in air; the long light is my home.” “I longed to be that thing, the pure, sensuous form. And I may be, some time.” Visionary intertwining of his spiritual self with leaves, water, light, and lower creatures.
Authority for making nature a parable came from his love and intensive study of it. Depression, nervous breakdowns & alcoholism.
“I have a driving sincerity, --that prime virtue of any creative worker. I write only what I believe to be the absolute truth, --even if I must ruin the theme in so doing.”
Presented himself in his verse as a naïve.
Won Pulitzer Prize in 1953. American canon & influence over a subsequent generation of award-winning poets.
Cuttings
Thirteen flower poems that comprise the first section of The Lost Son & Other Poems. The two opening lyrics, “Cuttings” & “Cuttings (later)."
(interpretation)
Resurrection of life.
Movements of the poet’s eyes: distance from the sticks > close-up (intricate stem-fur) > penetrate into the plant > rest under the soil. Roethke struggles through to a fuller, more participatory way of seeing, and the cutting comes back to life. A parallel.
A compulsive fascination.
Cuttings (later)
(interpretation)
Creation is a humiliation, with the plants “sucking” and “sobbing.” The dead stems struggling to regain vitality. Resurrection. Analogy to the saint as if the biological struggle were a penitential process.
Metaphor of the fish, the irreducible denominator of all life, the half-way point between plant and animal. Interdependence of all living matter. Roethke wishes to recover from the biological the pure unidirectional impulse toward life, but it is an impulse terrifying to him in its sheer tenacity.
No distance between the plant and the poet.
Generalizations on the two poems
The rooting of poetry in sensuous experience.
The search for naïve, even prerational modes of expression. Nausica.
A more dynamic concept of the correspondence between the vegetable and the human. In “Cuttings”, a parallel, in “Cuttings (later)”, unity.
A primal, organic struggle that sparks correspondent beginnings within the poet's interior life, his own imaginative birth.
Stylistic use of hyphenation. Hyphenating nouns and modifiers into unexpected surrealistic juxtapositions (“sticks-in-a-drowse,” “stem-fur,” “sand-crumb,” “sheath-wet”) jars conventional experience of nature.
Colloquial diction. Direct & rustic. Use of Anglo-Saxon monosyllabic words. Appeals to our basic rooting in the unconscious. Intuitive & evocative.
By employing assonance, consonance, onomatopoeia, and spondaic stress patterns (two long or stressed syllables), Roethke recreates the alien textures of the glasshouse landscape.
Irregular stress patterns. Playing against the iambic pattern. "memorable" and "passionate" verbal performances.
My Papa’s Waltz
Death of his father from cancer in 1923, when Roethke was 15. “I think the old Hardy looks down from heaven on this.”
(interpretation)
The overall tone and feeling contains love and pain and humor and nostalgia all blended.
From the psychological view, we can talk about love-hate relationships, childhood idealization of the father, family tensions and conflicts, the borderline between play and violence, etc. But we might benefit from just concentrating on the particulars because every image in this poem deserves to be pondered and tasted to the full for their emotional richness.
Feel the rhythm.
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