What am I? Nosing here, turning leaves over
Following a faint stain on the air to the river’s edge
I enter water. Who am I to split
The glassy grain of water looking upward I see the bed
Of the river above me upside down very clear
What am I doing here in mid air? Why do I find
this frog so interesting as I inspect its most secret
interior and make it my own? Do these weeds
know me and name me to each other have they
seen me before do I fit in their world? I seem
separate from the ground and not rooted but dropped
out of nothing casually I’ve no threads
fastening me to anything I can go anywhere
I seem to have been given the freedom
of this place what am I then? And picking
bits of bark off this rotten stump gives me
no pleasure and it’s no use so why do I do it
me and doing that have coincided very queerly
But what shall I be called am I the first
have I an owner what shape am I what
shape am I am I huge if I go
to the end on this way past these trees and past these trees
till I get tired that’s touching one wall of me
for the moment if I sit still how everything
stops to watch me I suppose I am the exact centre
but there’s all this what is it roots
roots roots roots and here’s the water
again very queer but I’ll go on looking
Unlocking the Mysteries of “Wodwo” by Ted Hughes
Welcome to an exploration of Ted Hughes’s profound and captivating poem, “Wodwo.” This remarkable piece of literature, first published in 1967, invites readers into a unique consciousness, challenging perceptions of identity and existence. Prepare to delve into the mind of a creature grappling with its place in the natural world, a journey that promises to illuminate the depths of primal thought and the enduring questions of being.
Summary of “Wodwo”
“Wodwo” is a compelling dramatic monologue that plunges into the raw, unfiltered consciousness of a primordial being. The poem presents a creature deeply immersed in the natural world, driven by an insatiable curiosity about its own identity, its existence, and its role within the vast ecosystem. This “Wodwo,” a term derived from Old English meaning “wood spirit” or “wild man,” explores its surroundings with an almost childlike wonder, observing everything from the “glassy grain of water” to the “secret interior” of a frog. This exploration is not a linear narrative but a vivid stream of consciousness, mirroring the unformed, instinctual thought processes of a creature unbound by conventional human understanding.
At its heart, “Wodwo” masterfully explores themes of nature, individuality, and freedom. The poem positions the Wodwo as an entity simultaneously distinct from, yet intrinsically woven into, the fabric of the natural world. Its persistent investigations and the repeated, echoing question, “What am I?”, reveal a profound search for self definition in a world where traditional structures of meaning simply do not apply. The poem does not aim to provide definitive answers, but rather to vividly portray the very process of questioning, and to highlight the inherent strangeness and wonder of existence itself.
Understanding the Poem’s Central Idea
The central idea of “Wodwo” transcends a simple narrative, offering instead a profound depiction of primordial consciousness. Hughes skillfully invites us to inhabit the mind of a being stripped of all societal conditioning, observing the world with an unfiltered, almost innocent, curiosity. This unique perspective allows the Wodwo to question the very nature of being and to contemplate its own existence without the usual filters of language, culture, or societal norms. The insistent repetition of “What am I?” is far more than a mere request for a label; it is a primal, urgent attempt to grasp the fundamental essence of self, to understand its own place in the grand scheme of things.
Analysis of Poetic Devices Used in “Wodwo”
Hughes masterfully employs a rich array of poetic devices to craft the unique atmosphere of “Wodwo” and to convey the complex, nascent thoughts within its protagonist. These devices are crucial in shaping the poem’s evocative power and deepening its meaning.
Assonance and Alliteration
The poem is subtly enhanced by the use of assonance and alliteration, which add a musical quality and draw attention to specific phrases. For instance, the repeated “a” sound in
Following a faint stain on the air
creates a gentle rhythm, while the alliteration in “glassy grain” or “sit still” links ideas and adds a pleasing sonic texture. These effects are not overtly obvious, yet they contribute significantly to the poem’s hypnotic and immersive quality, guiding the reader through the Wodwo’s sensory experience.
Anaphora and Repetition
The poem’s questioning nature is powerfully underscored by anaphora and repetition. The recurring phrase “I seem” at the beginning of successive clauses, as seen in lines like
I seem
separate from the ground and not rooted but dropped
out of nothing casually I’ve no threads
fastening me to anything I can go anywhere
I seem to have been given the freedom
serves as an anaphora, emphasizing the Wodwo’s perception of its own unrooted, free existence. Furthermore, the insistent repetition of the core question “What am I?” and the echoing of fundamental elements like “roots roots roots” and “here’s the water again” are not merely descriptive. They reinforce the profound importance of these elements to the Wodwo’s being and perception, creating a mesmerizing, almost chant like rhythm that mirrors its internal struggle for understanding.
Consonance
Consonance, the repetition of consonant sounds within words in close proximity, adds a subtle sonic texture to the poem. Phrases such as “know me and name me to each other” demonstrate this device, enhancing the poem’s musicality and subtly highlighting the interconnectedness that the Wodwo perceives in the natural world. The repeated “s” and “t” sounds in lines like “past these trees and past these trees” further emphasize the journey and the continuous passage through its environment.
Enjambment
Hughes frequently employs enjambment, the continuation of a sentence or phrase from one line to the next without a pause. This technique creates a remarkable sense of fluidity and directly mirrors the stream of consciousness style that defines the poem. Consider this powerful example:
for the moment if I sit still how everything
stops to watch me I suppose I am the exact centre
but there’s all this what is it roots
roots roots roots and here’s the water
again very queer but I’ll go on looking
This seamless flow allows ideas to unfold organically, drawing the reader deeper into the Wodwo’s continuous, unpunctuated thought process.
Imagery and Symbolism
Vivid imagery is a cornerstone of “Wodwo,” creating a strong sensory experience for the reader. Phrases like “glassy grain of water” and “rotten stump” appeal directly to our senses of sight, touch, and even smell, grounding the abstract questions in a tangible world. Beyond mere description, water and roots function as potent symbols throughout the poem. Water represents life, sustenance, and the fundamental connection to the natural world, while roots symbolize grounding, origin, and the hidden, foundational depths of existence. The Wodwo’s constant interaction with these elements underscores their symbolic weight.
Rhetorical Questions
The frequent use of rhetorical questions is central to “Wodwo’s” internal monologue. These are questions not intended to be answered, but rather to express the Wodwo’s profound grappling with fundamental questions of existence. Queries such as “What am I doing here in mid air?” and “have I an owner?” are not pleas for information; they are powerful expressions of a mind wrestling with the mysteries of its own being, reflecting its nascent self awareness and profound bewilderment.
Free Verse and Structure
“Wodwo” is written in free verse, meaning it deliberately avoids a regular rhyme scheme or meter. This stylistic choice is deeply significant, as it perfectly mirrors the untamed, primal, and unconstrained nature of the subject itself. The absence of traditional poetic structure reflects the Wodwo’s freedom from societal norms and intellectual constraints. The poem’s continuous flow, without formal stanzas, further emphasizes the unbroken stream of consciousness, making the poem feel less like a structured argument and more like an unfiltered, immediate glimpse into a mind actively at work, exploring its world without boundaries.
Key Lines for Reflection
To truly appreciate the depth of “Wodwo,” consider these lines that offer profound insights into the poem’s core themes and invite further contemplation:
for the moment if I sit still how everything
stops to watch me I suppose I am the exact centre
but there’s all this what is it roots
roots roots roots and here’s the water
again very queer but I’ll go on looking
These concluding lines powerfully encapsulate the Wodwo’s perceived centrality within its immediate environment, while simultaneously acknowledging the vast, mysterious world beyond itself. The intense focus on “roots” and “water” at the poem’s close underscores the fundamental, elemental connection between all living things and the Wodwo’s persistent, unending quest for understanding.
Concluding Thoughts on “Wodwo”
“Wodwo” is a complex and immensely rewarding poem that invites multiple interpretations and deep reflection. By exploring its compelling themes, its masterful use of poetic devices, and its unique free verse structure, readers can gain a profound appreciation for Ted Hughes’s extraordinary portrayal of primal consciousness and the enduring, universal mysteries of existence. This poem stands as a testament to the power of language to explore the very edges of human and pre human understanding, leaving us with questions that resonate long after the final line.