But in any case, the peculiar one-line sentence, which we keep wanting to open out into a dependent clause and a full couplet with a comma, gives us a meditative pause.
But the poem we are to consider does not. Do we mistake this bird for a kind of woodpecker, hitting the trunks directly and thus making them less gesund as they make them resound?
Or as if singing were itself a kind of mental process here?
No, this is the conventional palaver of nature writing, of a newspaper verse of the sort you might still find in a rural newspaper in England. Who says, "And comes that other fall we name the fall"?
This may have to do with a lack of sense of authenticity about themselves. And in the case of the sestet, or the last six lines, somewhat strangely for other reasons as well. Mythologizing any construction of nature, an animal, plant, a geological formation, a moment of process—this could be seen both as a desecration and a celebration of pragmatically considered fact.
This line is all the more complex here because it initiates the sestet, and we want the full stop at the end to be a comma, as if to say, when fall—that other fall—comes, he says, [with respect to that], that the highway dust is covering everything.
But another way of putting this suggests that one of these diminishings might be thought of as that of the whole tradition of talking about birds having something to say. He says the highway dust is over all. The world was a lemon tree, which of course has blossoms and fruit at the same time.
It is common in deciduous woods.
Come now, people in London have no more heard that singer than a New Englander would hear a nightingale. Anyway, "what to make of"—those meanings are both present, complicatedly, for Frost in relation to each other.
But woven across this is an alliterative pattern, in which "petal, past, pear" enact a different kind of connection, followed by the analogous, but more potently expressive, assonance of "went down in showers. I think here, regarding the issue, always crucial for Frost, of the sound of making sense what he talks about very often—he has a marvelous phrase when he talks about the "sentence sound".
Midsummer in England tends to mean the solstice, June 21st or thereabouts.
Literature is full of mythological, mostly composite creatures: Is the bottle of summer half-full or half-empty? Then come the first of the three reiterated assertions of his asserting.
Those are the stuff of poetry from Hellenistic times on. And the sign of this redemption is, for Frost, the sound of the voice working within the sounds of poetry. But then, there are the fallen creatures, the intermediate ones: And then, as is the case with very powerful and deep poetic ambiguities, the invitation extends to consider the relation between the two kinds of "making of": There is a singer everyone has heard, Loud, a mid-summer and a mid-wood bird Who makes the solid tree trunks sound again.
But both octave and sestet of this one are initiated by couplets. They tend not to generate the ceremonies that beginnings and endings do. No, not Germanic sound as in the German gesund, but French and Latin sonorous sound. Richard Poirier remarked once of this poem that any falling of leaves, of snow, of man can be redeemed by loving.
It could also be observed that this sonnet itself, like so many other poems in Mountain Interval, which is the book it comes from, knows in singing not to sing. The bird would cease and be as other birds But that he knows in singing not to sing.
Yet the couplet is broken—"And comes that other fall we name the fall. You notice how the air-headed cutter-out of sound bites on television news and that sort of thing will invariably cut at the end of a dependent clause, thus giving generations of poor wretched schoolchildren and others the sense that the end of a declarative sentence ends up in the air like this.
But to ask, "What do you make of x? Which some weird sense of oneself might demand that one confront. Certainly, the cadential full stop at the end of this line—".A Close Look at Robert Frost - On February 9,former Academy Chancellor John Hollander gave a master class for benefactors of the Academy of American Poets.
The class took place at the New York City home of then Academy Chairman Lyn Chase and her husband, Ned. Robert Frost excelled in exploring the complexity of human existence by treating trivia subjects.
Imagery plays a very important role in his poetry. This paper discusses the distinctive features, effects and forms of imagery in Frost's poetry.
Robert Frost, Poetry, Nature To cite this article Yuanli Zhang, Wei Ding, Lixia Jia, Analysis on Nature in Robert Frost’s Poetry, English Language, Literature & Culture. poetry we find Robert Frost’s personal tears, mood of depression and moment of doubt.
He was depressed due to the tragedies which took place in. All of Robert Frost Poems. Robert Frost Poetry Collection from Famous Poets and Poems. In the work of Robert Frost he has certain ideas and themes that can be found in many of his creations of literature.
Nature is one theme that seems to play a major role In the poetry he writes. He tends to use nature to symbolize something that has to do with human life or situations that humans face.Download