His attitude toward nature is between love and horror, departure and return. Long before his death at eighty-nine, Frost attained an enviable position as unofficial Poet Laureate for the nation, receiving the Pulitzer Prize four times and was the only poet ever invited to read one of his poems The Gift Outright at the Presidential Inauguration?. As for his poetry,Frost employed the plain speech of rural New Englanders and preferred the short, traditional forms of lyric and narrative to describe the simple, nice scenery of rural New England. Also the natural scenery in New England described in the poetry is also far more than just the picturesque view, but endowed with many metaphorical meanings.
On "Desert Places" Albert J.
Von Frank The poet sees the snow and the night descending together, black and white, working together to muffle sensation and obliterate perception; yet they work against each other, paradoxically, to heighten perception.
The snow works against the night, giving ghastly light whereby to see the darkness, while the fast falling darkness gives urgency to the need to see, for the opportunity will not last long.
What the poet sees is truly "for once, then, something. He knows it is a field because, for the moment, positive signs of its identity remain: Like the snow and the night, the weeds and stubble set up crosscurrents of meaning. What the snow smothers, in addition to everything else, is the vital conflict which the juxtaposition of "weeds and stubble" suggests.
Remove the signs of man's involvement, and it straightway ceases to be "for once, then, something" and can only be identified negatively: This annihilation is figured as death, the ultimate weight of which in cosmic fashion smothers all life, leaving the poet alone in a dead universe, touched, himself, by the death that smothers.
Confronted with the deadness, the spiritlessness, of the external world, the poet notes that he, too, is "absent-spirited"; he, too, is "included" in the loneliness, which is to say the separateness, of the universe of material objects.
This sense is akin to if not identical with Emerson's discovery, made "too late to be helped. For Frost thus far in the poem the persona exists negatively, just as the field may be said to exist negatively.
More specifically, the field no longer a field, properly speaking is known as the emptiness which disturbs the continuity of the woods; similarly, the poet-observer is defined by his absent-spiritedness and thus by his isolation.
The analogy between the condition of nature and the condition of personal psychology is a romantic concept and one perfectly in accord with the ideas of Emerson or Wordsworth.
In "Desert Places," however, the implications of the analogy are necessarily and entirely reversed since what is analogous in the persona and the field is the quality of discontinuity.
For Wordsworth, and for many subsequent romantic writers including Emerson, the analogy between states of mind or dispositions of the spirit and the sympathetic universe was uplifting because it implied, or rather presupposed, an active positive alliance, a radical continuity, through God, between man and nature.
Nature lives and spiritually supports us, even though it is composed in large measure of inanimate objects, because we live and God has allowed us to invest it with our lives.
Frost appears, in the first three stanzas, to have reversed these implications. The analogy between man and nature appears operative, but the reciprocal relation is negative rather than positive; pluralistic rather than monistic; fragmented in its stress on aloneness rather than unified; deadly rather than life-supporting.
III The third stanza appears at first the weakest on several counts. The purpose it serves seems primarily mechanical. It is necessary to shift the focus from the poet himself back to the scene before him in preparation for the final statement in the last stanza.
Presumably the quondam field will become lonelier or less expressive than earlier because the snow is now deep enough to hide not only the "weeds and stubble showing last," but also the very contours of the land.
Since the annihilation of the identity of the field was earlier accomplished when all signs of its use, its pragmatic definition, were covered, this added touch may strike the reader as gratuitous or insignificant by comparison.Strength in Imagination In Robert Frost's "Birches," a whimsical image that turns fact into fancy illustrates the poet's power to blend observation and imagination.
The poem begins with the capricious image of birch trees bending left and right. The speaker "would like to thi.
The Project Gutenberg EBook of Anne of Green Gables, by Lucy Maud Montgomery This eBook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. George Montiero. SEVERAL TIMES in Robert Frost: A Living Voice, his account of the poet's talks at the Bread Loaf School of English, Reginald L.
Cook quotes Frost's remarks on "Birches."Frost's words on one such occasion are given a context by Cook, who writes: In spite of his deprecatory view of explication, Frost revealed a good deal about his art.
Dec 27, · There are few trees so beautiful in the snow of winter as the birch, with its paper-white bark highlighted with slashes of black. The American poet Robert Frost wrote a very well-known poem about birches in winter. Jan 16, · In Robert Frost's poem, "Desert Places," the symbolism used seems to be that of nature, specifically snow, to represent a separateness or loneliness as the .
Nuture in Robert Frost’s Poetry of the poetry are skin-deep. If his poetry is analyzed in depth, one will find that his poetry are not the simple description of nature and the rural life, but contain rich meaning in terms of the relationship between man and nature, between man and the real world, between man and man.