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Home > AP Courses and Exams > Course Home Pages > Poet Richard Wilbur's Letter About "The Death of a Toad"

Poet Richard Wilbur's Letter About "The Death of a Toad"

Note From the Editors
In 1997, Richard Wilbur's poem "The Death of a Toad" appeared on the Advanced Placement English Literature Exam. At that time, an AP teacher named Penny wrote to him about the poem, and he responded with a long, detailed letter about the writing of the poem. The teacher was so delighted that she shared it on the AP English Electronic Discussion Group. For some time now, the letter has made sporadic appearances on the Electronic Discussion Group and is always a great hit.

We're delighted to announce that Richard Wilbur has given us permission to post his letter on AP Central. We hope that you will use it to enhance your own reading and that you will share it with your students. You will find the full text of the letter below.

We extend a special thank you to Richard Wilbur for his generosity.


Letter From Richard Wilbur
Dear Penny,

I don't get letters like yours every day, and I wish I did. It makes me pleasantly dizzy to think of being read by 170,000 teachers for a week. In the long history of exposure, it beats even Gypsy Rose Lee.

Let me see what I can remember about the poem's inception. The poem was first published in Poetry (Chicago) in February of 1948, and that means that it was written during the lawn-mowing months of 1947. We (Charlee and I and our daughter Ellen) were then living in Cambridge, and I, having earned an MA at Harvard, was about to begin a three-year Junior Fellowship there. At some time during the summer, Charlee's cousins, the Tapleys, who lived in Wellesley Hills, invited us to look after their house and grounds while they went off on a vacation jaunt. We were happy to get out of the city, and the house was far bigger and airier than our Plympton Street apartment, and so the sojourn in Wellesley Hills was agreeable to us, even though we felt somewhat oppressed by what we perceived as the tepid gentility of the town.

Most of my poems are made out of accumulated thoughts and feelings and perceptions, and almost never does it happen that I have an experience and then go straight to a chair and write about it. But that's how it happened with "The Death of a Toad." Mowing the Tapley's suburban lawn one day, I mortally injured a toad, and before the day was out I had made that into a poem. Why did that occur? I think it was because I was young, and just out of military service, and spoiling to live, and felt, as I said before, oppressed by the safe, somnolent retirement-village atmosphere of Wellesley Hills; part of me identified, therefore, with the toad, and made me see the toad as representing the primal energies of the Earth, afflicted by the sprawl of our human dominion.

The first two lines of the third stanza are out to associate to toad with those "primal energies" -- and of course there is biological ground for doing so. The words are out to magnify the toad and at the same time to be disarming about that -- to acknowledge by an undertone of humor that I am making a great deal of a very small creature. My tonal ambiguity has worked for some readers but did not work, as I recall, for Randall Jarrell.

The poem has an ad hoc stanza form, created by the way the phrasing wanted to happen. It's scannable as a "loose iambic" poem in the metrical pattern 465543. I think that in '47 I was beginning to enjoy incorporating the six-foot line in some of my made-up stanzas; later I did so in a poem called "Beasts." The six-footer being very often a slow and awkward measure, it's a challenge to use it effectively, and in support of one's meaning.

Whether my toad actually took refuge under a cineraria or not, I can't say; but it had the right shape and shade of leaf for my poem. I recall, for some reason, that the first stanza originally ended "in a dim,/ Low, and an ultimate glade." That sounded too good to me, and I knew why when I remembered Poe's description of Dream-Land as "an ultimate dim Thule." In the first lines of the poem I imagined the declining sun as moving -- so setting suns may appear to do -- along the horizon, and that's what led me to use the verb "steer," which has given trouble to a number of my readers. Quite reasonably, some have seen in that word not a verb meaning "to pursue a course" but a noun meaning "a castrated animal." It's led me to consider, more than once, replacing "steer" with "veer."

Does that give you what you were after? Thank you for the news of Barbara and of the tearing-up of our lane in Key West, and our very best wishes to you,

Dick






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