Under the Tree — Key Ideas to Explore
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For Under the Tree — Key Ideas to Explore, the stored edition analysis reports 9,330 words, 41 min estimated reading time, and 2 detected text sections.
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Project Gutenberg metadata also associates the work with “American poetry,” connecting these edition facts with the source record’s subject description.
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Read the Text
That were all blue wings and nothing else more.
Without any head and without any feet, Just blue wings flying over a street.
And almost every night I see A little brown bowl that can talk to me,
A nice little bowl that laughs and sings, And ever so many other things.
Sometimes they are plainer than I can say, And while I am waking they go away.
And when nobody is coming by, I feel my pillow all over and try
And try to feel the pretty things, The little brown bowl and the flying wings.
And it was Sunday everywhere, And Father pinned a rose on me And said he guessed he'd better take Me down to see Miss Kate-Marie.
And when I went it all turned out To be a Sunday school, and there Miss Kate-Marie was very good And let me stand beside her chair.
Her hat was made of yellow lace; Her dress was very soft and thin, And when she talked her little tongue Was always wriggling out and in.
I liked to smell my pretty rose; I liked to feel her silky dress. She held a very little book And asked the things for us to guess.
She asked about Who-made-y-God, And never seemed to fuss or frown; I liked to watch her little tongue And see it wriggle up and down.
The woodpecker pecked out a little round hole And made him a house in the telephone pole.
One day when I watched he poked out his head, And he had on a hood and a collar of red.
When the streams of rain pour out of the sky, And the sparkles of lightning go flashing by,
And the big, big wheels of thunder roll, He can snuggle back in the telephone pole.
O little one away so far, You cannot hear me when I sing.
You cannot tell me what you are, I cannot tell you anything.
All through the garden I went and went, And I walked in under the butterbean tent.
The poles leaned up like a good tepee And made a nice little house for me.
I had a hard brown clod for a seat, And all outside was a cool green street.
A little green worm and a butterfly And a cricket-like thing that could hop went by.
Hidden away there were flocks and flocks Of bugs that could go like little clocks.
Such a good day it was when I spent A long, long while in the butterbean tent.
Our brother Clarence goes to school. He has a slate and a blue school-bag. He has a book and a copybook And a scholar's companion and a little slate rag.
He knows a boy named Joe B. Kirk, And he learns about c-a-t cat, And how to play one-two-sky-blue, And how to make a football out of a hat.
We climb up on the fence and gate And watch until he's small and dim, Far up the street, and he looks back To see if we keep on watching him.
On Sunday morning, then he comes To church, and everybody smells The blacking and the toilet soap And camphor balls from Mr. Wells.
He wears his whiskers in a bunch, And wears his glasses on his head. I mustn't call him Old Man Wells-- No matter--that's what Father said.
And when the little blacking smells And camphor balls and soap begin, I do not have to look to know That Mr. Wells is coming in.
Our brother says that Will was born The very day that Dickie came; When one is four the other is, And all their birthdays are the same.
Their coats and waists are just alike; They have their hats together, too. They sleep together in one bed, And Will can put on Dickie's shoe.
But they are not the same at all; Two different boys they have to be, For Dick can play in Mother's room When Will is climbing in a tree.
Or maybe Will is on the porch To cry because he stubbed his toe, And Dick is laughing by the gate And watching ants go in a row.
The church has pieces jutting out Where corners of the walls begin. I have one for my little house, And I can feel myself go in.
I feel myself go in the bricks, And I can see myself in there. I'm always waiting all alone, I'm sitting on a little chair.
And I am sitting very still, And I am waiting on and on For something that is never there, For something that is gone.
A little light is going by, Is going up to see the sky, A little light with wings.
Although cataloged under American poetry and children's poetry, Under the Tree by Elizabeth Madox Roberts (1881–1941) is not a collection of nursery rhymes or moral lessons. The poems, first published in 1922, adopt a child's first-person voice that is both observant and unadorned. The opening poem, “The Sky,” describes the sky as something that “hung up on the poplar tree” and “moved a little bit away,” treating a natural phenomenon with literal, playful logic. This pattern—where a child reinterprets the world through concrete, sensory details—runs throughout the volume.
A Child’s Sensory World
The poems consistently ground abstract concepts in physical experience. In “The Sky,” the speaker watches the sky shift and concludes, “I think it must be tied with chains / And something pulls it from the top.” The cornfield is seen from a “little crooked tree,” and the rows “come together like a fan.” Milking time is rendered through the cow’s “purple eyes” and the foam “piling very high” in a china mug. These details are not decorative; they form the poem’s entire argument. The child’s logic is literal: the sky moves because it is tied, the corn spreads like a fan because it does. The poems avoid adult metaphor, instead presenting a mind that processes the world through direct, physical analogy.
Family and Domestic Rituals
Several poems center on family members and household routines. “The Grandmother” shows a child watching her grandmother sew a quilt while telling stories “about in Mary-land,” a place associated with ships and a wide blue river. The poem “In Maryland” elaborates this memory, describing “Grandmother Barbara” watching ships from a hill. “The Sunday Bonnet” recounts a domestic mishap: a bonnet stored in a box becomes a nest for five kittens, discovered by Alice, “Evaline’s child.” These poems treat family history and daily life with the same observational clarity as the nature poems. The grandmother’s stories are not explained or moralized; they are simply reported as part of the child’s experience.
Moments of Unease and Wonder
Not all poems are serene. “In the Night” describes a child’s nightmare: a figure with “one eye shining red,” “two bent teeth,” and a “jaw was torn away.” The speaker cannot scream or move, and a panther appears with “streaks moving on his back.” The poem ends with the child waiting, face turned to the wall. This unsettling imagery contrasts with the volume’s lighter pieces. “The People” is a three-line poem: “The ants are walking under the ground, / And the pigeons are flying over the steeple, / And in between are the people.” It compresses a cosmic perspective into a child’s scale. These poems suggest that Roberts’ child speaker inhabits a world where fear and wonder coexist without adult mediation.
Readers approaching Under the Tree should expect a consistent, limited point of view: the child’s voice never wavers into adult commentary. The poems reward attention to small, precise details—the “little silk” the cow spills, the “sticktights” on a traveler’s clothes, the “five little cats” in a bonnet. The catalog subjects (American poetry, children’s poetry) are accurate but do not capture the work’s quiet strangeness. This edition preserves the original 1922 text, including the table of contents and acknowledgments, which list periodicals such as The Atlantic Monthly and Poetry where some poems first appeared.
I remember shelving Elizabeth Madox Roberts’ little Under the Tree, its child’s eye catching the cornfield’s tilt, and I thought of a worn volume beside it, The Modern Scottish Minstrel, Volume 3. The Songs of Scotland of the Past Half Century — Text and Context, whose verses keep a similar hush—home lights and heather, sung quietly, as if to a window at dusk.
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