What the rest of the house remains ambiguous. The statement that "No genius ever thanked him," which in the sense that it conveys an uncomfortable, unsettling memory pays off the example of in any case in the counterbalance line, suggests that there were several mint in the menage who were unappreciative of how hard he worked. The routine stanza closes with the poet's reflection on "the chronic angers of the house" (9), which conveys the idea that the premodern household had not the luxury of contentment moreover was beset with existent anxiety about surviving the next expensive surprise. The contemplation of anger may be inferred as maternal ire and possibly a good deal of strictness, which is supported by the image of the shined shoes. As the poem closes, of course, the poet is gradually admitting that he go through and of course dreaded only the anger, being oblivious of the parental effort to provide the best life possible for the kid. That entry drives the reference to the shoes slim--perhaps for wearing to church, for after all it is Sunday, and besides, parental strictness is traditionally linked to an ethos of well-brought-up children from poor but straightforward families--and the circumstance that the boy considered the loving gesture as cogent evidence of his father's sternness.
The organization of the poem, which at 14 lines can be theme of as a sonnet even though it does
not have a virtuous rhyme scheme or meter, shows the randy maturation of the youth. The first stanza of five lines describes the father's busy housekeeping even after a week of hard work and the stinging memory of the fact that housekeeping chores were a thankless job.
The second, four-line stanza focuses on the poet's memory of childishness egocentricity and experience of dread in the face of physical and emotional discomfort. In the third stanza of five lines, or what might be called the closing quintet of the sonnet, the poet characterizes himself and indirectly echoes the first stanza. He reveals that he was inattentive toward his father emotionally, just as he was indifferent to the fact, then, that his father extended himself to rise early and bustle about. In referring to the detail of the banishment of cold, the poet recalls that project. He likewise recalls the detail of the polished shoes; as well in context echoes also in the poem's first line, not by rhyming but by virtue of the two locutions' identical meaning.
That ending also reinforces the poet's choice of a 14-line verse, inasmuch as sonnets, including (or especially) classical ones, convey in a limited form an intensity of emotion. Thus in terms of narrative form, Hayden's poem can be read, as well, as a kind of tribute to the sonnet itself.
Indeed, too c
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