To fully understand My Papa’s Waltz, it’s important to remember that this poem wasn’t written today. It isn’t a modern poem. This is important because without reading it in the proper context, it may seem like a poem about child abuse. This simply isn’t the case. When read in the context of the time that it was written, it shows a much more loving family. Without knowing that it was very common of the time for a father to work all day, every day, and then go to the bar and have some whiskey before coming home, lines one and two “The whiskey on your breath / could make a small boy dizzy” could come across very negatively. The key component in identifying that the speaker in this poem enjoys the time he spends with his father is the tone.
Roethke writes this poem in a way that almost sounds like a verbal drunken-waltz when read aloud. He accomplishes this with a skillful use of an ABAB rhyme scheme, which creates a sense of verbal swaying, much like that of a waltz. Instead of using strictly one syllable rhymes, like breath/death and shirt/dirt, he adds some two syllable rhymes as well such as dizzy and easy, which really embodies the back and forth swaying of a waltz. The number of syllables in each line is another clear indicator of an imperfect waltz—almost every line has six syllables but there are a few with seven. These lines show the stumbling (or miss stepping) of the tipsy father.
Another significant way that Roethke creates the tipsy tone is through the use of words with good and bad connotations. There are many words in this poem that might push the reader towards a feeling of child abuse, such as “death,” “unfrown,” “beat” and “scraped” their positioning with words of good connotation neutralizes and overcomes the bad connotations that these words carry. Saying “But I hung on like death:” (line 3) implies that he doesn’t want to let go of his father while they romp around the kitchen. There are two other lines that have the same implications. “My right ear scraped a buckle” (Line 12) shows that the speaker is hanging on so tight, that his ear is up against his father’s belt buckle, a clear sign of affection. Roethke even ends the poem with another similar line “Still clinging to your shirt” (Line 16). Had there been any abuse or any implications that the speaker didn’t enjoy the time with his father, after all of that, he wouldn’t have been still clinging. Romp is another word with a good connotation. Romping, which is defined as to frolic or to play boisterously by Princeton, would never be used to describe something that wasn’t enjoyable.
The tone of My Papa’s Waltz paints a vivid picture of a son who enjoys spending every possible second with his father. Papa (which is a much more loving pronoun than say, father) comes home from late at night from work, a little drunk. The speaker can smell the whiskey on his breath, but doesn’t care. He instead gives his dad a big hug and they begin to romp or play around. Their waltzing knocks a few pans off the shelves, and the mother gives a frown, but does nothing to stop the playful dancing of father and son. The playing eventually ends and Papa brings the child to bed where the child doesn’t want to let go. Without the proper tone, this poem could have been easily taken is a much darker sense. Did he really beat the kid on the head, or was he keeping a drum beat? The reader knows that it was a playful encounter between a loving father and son because of the tone Roethke creates using the rhyme scheme and alternating connotations.
