Litcharts-Mending-Wall-1.Pdf

Total Page:16

File Type:pdf, Size:1020Kb

Litcharts-Mending-Wall-1.Pdf Get hundreds more LitCharts at www.litcharts.com Mending Wall POEM TEXT 42 Not of woods only and the shade of trees. 43 He will not go behind his father's saying, 1 Something there is that doesn't love a wall, 44 And he likes having thought of it so well 2 That sends the frozen-ground-swell under it, 45 He says again, "Good fences make good neighbours." 3 And spills the upper boulders in the sun; 4 And makes gaps even two can pass abreast. 5 The work of hunters is another thing: SUMMARY 6 I have come after them and made repair 7 Where they have left not one stone on a stone, There is some force that doesn’t like walls. It causes the frozen 8 But they would have the rabbit out of hiding, ground to swell underneath a wall, and the wall's upper stones 9 To please the yelping dogs. The gaps I mean, then topple off in the warmth of the sun. This creates gaps in the wall so big that two people could walk through them side- 10 No one has seen them made or heard them made, by-side. And then there are the hunters who take apart the 11 But at spring mending-time we find them there. wall—that’s something different. I often have to come and fix 12 I let my neighbour know beyond the hill; the spots where hunters haven't left a single stone in place, as 13 And on a day we meet to walk the line they tried to flush out the abbitsr that hide in the wall in order 14 And set the wall between us once again. to make their barking dogs happy. No one has seen or heard 15 We keep the wall between us as we go. these gaps in the wall being made. We just find them there in 16 To each the boulders that have fallen to each. the spring, when it comes time to fix the wall. I reach out to my 17 And some are loaves and some so nearly balls neighbor, who lives over a hill, and we find a day to get together and walk along the wall, fixing these gaps as we go. He walks on 18 We have to use a spell to make them balance: his side of the wall and I on mine, and we deal only with 19 "Stay where you are until our backs are turned!" whatever rocks have fallen off the wall on our side of it. Some of 20 We wear our fingers rough with handling them. them look like loaves of bread and some are round like balls, so 21 Oh, just another kind of out-door game, we pray that they’ll stay in place, balanced on top of the wall, 22 One on a side. It comes to little more: saying: "Don’t move until we’re gone!" Our fingers get chafed 23 There where it is we do not need the wall: from picking up the rocks. It’s just another outside activity, each 24 He is all pine and I am apple orchard. of us on our side of the wall, nothing more. 25 My apple trees will never get across 26 And eat the cones under his pines, I tell him. There’s no need for a wall to be there. On my neighbor’s side of the wall, there’s nothing but pine trees; my side is an apple 27 He only says, "Good fences make good neighbours." orchard. It’s not like my apple trees are going to cross the wall 28 Spring is the mischief in me, and I wonder and eat his pine cones, I say to him. But he just responds, "Good 29 If I could put a notion in his head: fences are necessary to have good neighbors." Since it’s spring 30 "Why do they make good neighbours? Isn't it and I feel mischievous, I wonder if I could make my neighbor ask 31 Where there are cows? But here there are no cows. himself: "Why are they necessary? Isn’t that only true if you’re 32 Before I built a wall I'd ask to know trying to keep your neighbor’s cows out of your fields? There 33 What I was walling in or walling out, aren’t any cows here. If I were to build a wall, I’d want to know 34 And to whom I was like to give offence. what I was keeping in and what I was keeping out, and who was 35 Something there is that doesn't love a wall, going to be offended by this. There is some force that doesn’t love a wall, that wants to pull it down.” I could propose that 36 That wants it down." I could say "Elves" to him, Elves are responsible for the gaps in the wall, but it’s not exactly 37 But it's not elves exactly, and I'd rather Elves, and, anyway, I want my neighbor to figure it out on his 38 He said it for himself. I see him there own. I see him, lifting up stones, grasping them firmly yb the 39 Bringing a stone grasped firmly by the top top, in each hand, like an ancient warrior. He moves in a deep 40 In each hand, like an old-stone savage armed. darkness—not just the darkness of the woods or the trees 41 He moves in darkness as it seems to me, above. He does not want to think beyond his set idea about the world, and he likes having articulated this idea so clearly. So he ©2020 LitCharts LLC v.007 www.LitCharts.com Page 1 Get hundreds more LitCharts at www.litcharts.com says it again: “Good fences are necessary to have good implying that the neighbors don't trust each other. neighbors.” The speaker and his neighbor thus disagree over an issue so fundamental to human society and political thinking: they debate whether conflicts between human beings are inevitable THEMES (if preventable) or whether those conflicts are the result of misguided cynicism about the possibility of peace between BORDERS people. At its heart, “Mending Wall” is a poem about Yet though the speaker gets the most air-time in the poem, it's borders—the work it takes to maintain them and the not entirely clear that the reader is supposed to take the way they shape human interactions. The speaker and the speaker's side. Instead, the poem itself remains decidedly speaker's neighbor spend much of the poem rebuilding a wall ambiguous—for all the speaker's complaints about the wall, the that divides their properties. As they do so, they debate the speaker is the one who sets the mending in motion by reaching function of the wall and how it affects their relationship. out to the neighbor, and the poem even gives the neighbor the The speaker suggests that the wall is unnecessary, both final word. practically and politically: in the speaker's mind, walls exclude The poem thus asks its reader to decide for themselves who is people, injuring otherwise harmonious relationships. But the right and who is wrong, and to make up their minds about the neighbor argues that walls actually improve relationships, utility of walls, borders, and other political and physical devices because they allow people to treat each other fairly and that divide people. prevent conflict. The poem doesn't fall too heavily on either side of the debate, ultimately allowing readers to decide for Where this theme appears in the poem: themselves which vision of human community is most • Lines 1-45 convincing. The speaker believes the wall isn't necessary, given the crops that the speaker and the neighbor grow: while cattle might THE VALUE OF WORK wander over to graze in someone else's pasture, the speaker's As the speaker describes it, the work of “Mending apples aren't going to eat the neighbor's pine trees. More Wall” is ritualistic: each year, the speaker and the importantly, the speaker believes that walls actively damage neighbor walk along the wall together and repair the sections people's relationships. This is because walls are likely to “give that have been damaged by frost or by hunters over the offense”—that is, to offend people with their implication of previous year. It is hard, taxing work: by the end, their hands mistrust and exclusion. are chapped from it. The difficulty of the work, and the need to The speaker thus asks the neighbor why they need to continue renew it every year, makes the speaker question why—and repairing the wall at all. In response, the neighbor says simply whether—it’s necessary to keep rebuilding the wall. More and repeatedly: "Good fences make good neighbours." He broadly, the act of repairing the wall serves as an allegory for believes that a good neighbor establishes clear boundaries, and human labor. Though the speaker and the neighbor continue to in doing so prevents problems from arising between people rebuild the wall, the poem calls into question the value of labor who live near each other. The neighbor seems haunted by the for labor’s sake—and asks whether a different relationship to possibility of future conflicts. In fact, he seems to regard such work might be possible. conflicts as an inevitable part of life—and as such that it’s At the heart of the poem’s meditation is a routine, even important to take steps to prevent them.
Recommended publications
  • Robert Frosts Poetry: the Duality of the Senex
    ROBERT FROSTS POETRY: THE DUALITY OF THE SENEX SONJA VALČIĆ UDK: 820(73).FROST, R. Filozofski fakultet u Zadru Izvorni znanstveni članak Faculty o f Philosophy in Zadar Original scientific paper Primljeno. 1999_10_12 Received The senex archetype in Frost's poetry is used extensively, it serves him to portray three antithetical aspects of human condition, aspects characterized by both positive and negative categories. These categories are not portrayed as static divisions, but as poles dinamically and complexly interrelated. This paper examines three of Frost's works "Mending Wall", "An Old Man's Winter Night" and "Directive" as examples for the study of the paradoxical senex consciousness. While the archetypal senex figures in the "Directive" and "An Old Man's Winter Night" represent primarily the antithetical aspects of the nature of humans, the senex protagonists in the "Mending Wall" reflect the inherent binary oppositions and ambivalence within the contradictory and paradoxical world of humankind. Thus, we can say, that Frost's portrayal of the archetype of the senex acknowledges the symbolic paradigm of the human condition. I. Robert Frost has long been considered the "Wise Old Man" of American twentieth-century poets, not simply because of his public persona, or mask, but because, as I shall explore in this paper, so much of his poetry and the characters in his poetry manifest the temperament, nature, principles and ordering qualities of the senex archetype. Senex is the Latin word for old man (or old woman). Personifications of the archetype appear everywhere in Frost's work as the guide, judge, father, mentor, philosopher, literate farmer, king, ruler (President and Governor), preacher, hermit, outcast, exile and ogre.
    [Show full text]
  • “Mending Wall” by Robert Frost
    FROST POETRY ANALYSIS DIRECTIONS: Complete the TP-CASTT analysis chart for your group poem. You only need one paper per group, but you are all responsible for presenting your poem to the class. You each must speak and contribute to the presentation. TP-CASTT –an acronym for title, paraphrase, connotation, attitude, shift, title (again), and theme—is designed to help you remember the concepts you can consider when examining a poem. This is not a lockstep sequential approach, but rather it is a fluid process in which you will move back and forth, among the various concepts. For example, in examining connotations of a line, you may also notice a shift, which in turn may give you an insight into theme. Title (before reading) Although titles are often keys to possible meanings of a poem, students frequently do not contemplate them either before or after reading poetry. As a first step in the analysis of a new poem, look at the title and predict what the poem may be about. Paraphrase Another aspect of a poem often neglected by students is the literal meaning—the “plot.” Frequently, real understanding of a poem must evolve from comprehension of “what’s going on in the poem.” Try to restate a poem in your own words, focusing on one syntactical unit at a time—not necessarily on one line at a time. Another possibility is to write a sentence or two for each stanza of the poem. Connotation Although this term usually refers solely to the emotional overtones of word choice, here it indicates that you should examine any and all poetic devices, focusing on how such devices contribute to the meaning, the effect, or both of a poem.
    [Show full text]
  • Birches & Mending Wall King’S Word Academy BIRCHES When I See Birches Bend to Left and Right Across the Lines of Straighter Darker Trees
    Literature Birches & Mending Wall King’s Word Academy BIRCHES When I see birches bend to left and right Across the lines of straighter darker trees. I like to think some boy’s been swinging them. But swinging doesn’t bend them down to stay 5 As ice storms do. Often you must have seen them Loaded with ice a sunny winter morning After a rain. They click upon themselves As the breeze rises, and turn many-colored As the stir cracks and crazes their enamel. 10 Soon the sun’s warmth makes them shed crystal shells Shattering and avalanching on the snow crust- Such heaps of broken glass to sweep away You’d think the inner dome of heaven had fallen. They are dragged to the withered bracken by the load. 15 And they seem not to break: though once they are bowed So low for long, they never right themselves: You may see their trunks arching in the woods Years afterwards, trailing their leaves on the ground Like girls on hands and knees that throw their hair 20 Before them over their heads to dry in the sun. But I was going to say when Truth broke in With all her matter of fact about the ice storm, I should prefer to have some boy bend them As he went out and in to fetch the cows- 25 Some boy too far from town to learn baseball. Whose only play was what he found himself. Summer or winter, and could play alone. One by one he subdued his father’s trees By riding them down over and over again 30 Until he took the stiffness out of them And not one but hung limp, not one was left For him to conquer.
    [Show full text]
  • The Choral Cycle
    THE CHORAL CYCLE: A CONDUCTOR‟S GUIDE TO FOUR REPRESENTATIVE WORKS A DISSERTATION SUBMITTED TO THE GRADUATE SCHOOL IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE DOCTOR OF ARTS BY RUSSELL THORNGATE DISSERTATION ADVISORS: DR. LINDA POHLY AND DR. ANDREW CROW BALL STATE UNIVERSITY MUNCIE, INDIANA MAY 2011 Contents Permissions ……………………………………………………………………… v Introduction What Is a Choral Cycle? .............................................................................1 Statement of Purpose and Need for the Study ............................................4 Definition of Terms and Methodology .......................................................6 Chapter 1: Choral Cycles in Historical Context The Emergence of the Choral Cycle .......................................................... 8 Early Predecessors of the Choral Cycle ....................................................11 Romantic-Era Song Cycles ..................................................................... 15 Choral-like Genres: Vocal Chamber Music ..............................................17 Sacred Cyclical Choral Works of the Romantic Era ................................20 Secular Cyclical Choral Works of the Romantic Era .............................. 22 The Choral Cycle in the Twentieth Century ............................................ 25 Early Twentieth-Century American Cycles ............................................. 25 Twentieth-Century European Cycles ....................................................... 27 Later Twentieth-Century American
    [Show full text]
  • 1 Robert Frost Poems Robert Frost (1874-1963) Was an American Poet
    1 Robert Frost Poems Robert Frost (1874-1963) was an American poet most associated with the characters and cadences of New England. He won the Pulitzer Prize for poetry four times and became the most well-known poet of the twentieth century in America. He read his poem “The Gift Outright” at the inauguration of John F. Kennedy in 1961. His collections include A Boy’s Will (1913), North of Boston (1914), and Collected Poems (1931). Birches (1916) When I see birches bend to left and right Across the lines of straighter darker trees, I like to think some boy's been swinging them. But swinging doesn't bend them down to stay. Ice-storms do that. Often you must have seen them Loaded with ice a sunny winter morning After a rain. They click upon themselves As the breeze rises, and turn many-colored As the stir cracks and crazes their enamel. Soon the sun's warmth makes them shed crystal shells 10 Shattering and avalanching on the snow-crust-- Such heaps of broken glass to sweep away You'd think the inner dome of heaven had fallen. They are dragged to the withered bracken by the load, And they seem not to break; though once they are bowed So low for long, they never right themselves: You may see their trunks arching in the woods Years afterwards, trailing their leaves on the ground Like girls on hands and knees that throw their hair Before them over their heads to dry in the sun. 20 But I was going to say when Truth broke in With all her matter-of-fact about the ice-storm (Now am I free to be poetical?) I should prefer to have some boy bend them As he went out and in to fetch the cows-- Some boy too far from town to learn baseball, Whose only play was what he found himself, Summer or winter, and could play alone.
    [Show full text]
  • Chapter - IV CHAPTER-IV
    Chapter - IV CHAPTER-IV THE FROST UNIVERSE: A STUDY IN MAJOR IMAGES AND SYMBOLS "Pipes in hands": Early Phase (1913 - 1916) His (Frost's) primary artistic achievement, which is an enviable one, in spite of shortcomings, rests on his blending thought and emotion and symbolic imagery within the confines of the lyric. It would seem to be an essential part of both his theory and practice to start with a single image, or to start with an image of action, and then to endow either or both with a figurativeness of meaning, which is not fully understood by the reader until the extensions of meaning are found to transcend the physical. Thompson, Lawrance. Robert Frost. Minneapolis: University of Minnesota Press, 1959. 38. ... [I]n Frost the symbol, presented (mite casually as an image, opens outward upon a vista of meaning. The vista does not have any definite terminus and in the farthest distance ifades into vague areas of suggestion. Lynen, John F. The Pastoral Art of Robert Frost. New Haven: Yale University Press, 1960. 27. Frost's firstAolume, A Boy's Will (1913), "the Record of a Phase of Post- adolescence"', begins with a sonnet "Into My Own". It opens up the nexus of Frostian imagery wedded to the dark woods. Since Frost's poetic being has been shaped and reshaped by the woods, and the woods and the poetic being are almost 71 inseparable in Frost poetry, the study of this chapter hence begins with our observations on woods imagery: One of my wishes is that those dark trees, So old and firm they scarcely show the breeze, Were not, as't were, the merest mask of gloom, But stretched away unto the edge of doom.
    [Show full text]
  • Poetic Conception of Robert Frost
    International Journal on Studies in English Language and Literature (IJSELL) Volume 4, Issue 7, July 2016, PP 113-117 ISSN 2347-3126 (Print) & ISSN 2347-3134 (Online) http://dx.doi.org/10.20431/2347-3134.0407018 www.arcjournals.org Poetic Conception of Robert Frost Ch.Aruna V.Beulah Rani Lecturer in English, Hindu College, Guntur Lecturer in English, Hindu College, Guntur [email protected] [email protected] Abstract: Robert Frost’s life, like his poetry is filled with curious contradictions. He wrote poetry using traditional theories and practices of versification. Frost said there is striking analogy between the course of a true poem and that of a true love, each begins as an impulse, a disturbing excitement to which the individual surrenders himself. This kind of inspiration is no way related to what words worth had in mind when he referred to emotions recollected in tranquility. The first kind of recognition which Frost suggests a part of poetic impulse may be seen by examining his stopping by woods on a snowy evening. Speaking about the relationship between the poem and the reader, Frost says the poem is twice blest once by the poet and then by the reader. Frost’s poetry is the poetry that never pretends it is the poetry of conversation and playing style. It sums up the past and enlivens the present for happy and wise future. It transcends time and space. It is universal in its appeal. It is powerful enough to express both things and thoughts. It is symbolic it plays on modern technique of contrasts and suggestions.
    [Show full text]
  • Teaching Robert Frost: a Common Core Close Reading Seminar
    Teaching Robert Frost: A Common Core Close Reading Seminar Sean McCann Professor of English, Wesleyan University National Humanities Center Fellow 2001-02 We will begin promptly on the hour. The silence you hear is normal. If you do not hear anything when the images change, e-mail Caryn Koplik [email protected] for assistance. Teaching Robert Frost GOAL To examine Frost’s poetry through close reading and consider how it can be both reassuring and disturbing at the same moment. americainclass.org 2 Teaching Robert Frost FROM THE FORUM How does Frost express complexity through simplicity? What, if any, impact did Frost have on other poets? Why would Frost write pastoral poetry at a time of massive urbanization? What is Frost’s relationship to the modernism of the 1920s? americainclass.org 3 Sean McCann Professor of English, Wesleyan University National Humanities Center Fellow 2001-02 A Pinnacle of Feeling: American Literature and Presidential Government (2008) Gumshoe America: Hard-Boiled Crime Fiction and the Rise and Fall of New Deal Liberalism (2000) americainclass.org 4 Teaching Robert Frost INTRODUCTION Focus on two poems: “The Road Not Taken” and “Mending Wall” (If time, “Death of the Hired Man.”) Why those two? General remarks about Frost’s poetry americainclass.org 5 Teaching Robert Frost Robert Frost (1874-1963) was among the major American poets of the 20th century. His achievement was distinctive and memorable. He came of age as a writer in an era when the most celebrated poetry was highly aestheticized— ornate, musical, and symbolic. And he began his career at a time when a rising new generation of modernists poets was throwing off that literary inheritance by writing complex, experimental verse that often looked nothing at all like traditional poetry.
    [Show full text]
  • Translating Mimesis of Orality
    Translating mimesis of orality: Robert Frost’s poetry in Catalan and Italian Marcello Giugliano TESI DOCTORAL UPF / ANY 2012 DIRECTORS DE LA TESI Dra. Victòria Alsina Dr. Dídac Pujol DEPARTAMENT DE TRADUCCIÓ I CIÈNCIES DEL LLENGUATGE Ai miei genitori Acknowledgements My first thank you goes to my supervisors, Dr. Victòria Alsina and Dr. Dídac Pujol. Their critical guidance, their insightful comments, their constant support and human understanding have provided me with the tools necessary to take on the numerous challenges of my research with enthusiasm. I would also like to thank Dr. Jenny Brumme for helping me to solve my many doubts on some theoretical issues during our long conversations, in which a smile and a humorous comment never failed. My special thanks are also for Dr. Luis Pegenaute, Dr. José Francisco Ruiz Casanova, and Dr. Patrick Zabalbeascoa for never hiding when they met me in the corridors of the faculty or never diverting their eyes in despair. Thank you for always being ready to give me recommendations and for patiently listening to my only subject of conversation during the last four years. During the project, I have had the privilege to make two research stays abroad. The first, in 2009, in Leuven, Belgium, at the Center for Translation Studies (CETRA), and the second in 2010 at the Translation Center of the University of Massachusetts at Amherst, USA. I would like to give a heartfelt thank you to my tutors there, Dr. Reine Meylaerts and Dr. Maria Tymoczko respectively, for their tutoring and for offering me the chance to attend classes and seminars during my stay there, converting that period into a fruitful and exciting experience.
    [Show full text]
  • University of Cincinnati
    University of Cincinnati Date: 1/31/2011 I, Andrew S Collins , hereby submit this original work as part of the requirements for the degree of Doctoral of Musical Arts in Conducting, Choral Emphasis. It is entitled: Poetic Structural Devices as a Consideration When Analyzing and Interpreting Choral Scores Student's name: Andrew S Collins This work and its defense approved by: Committee chair: Earl Rivers Committee member: Donald Bogen Committee member: Kenneth Griffiths 1295 Last Printed:2/22/2011 Document Of Defense Form Poetic Structural Devices as a Consideration When Analyzing and Interpreting Choral Scores A document submitted to the Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in the Ensembles and Conducting Division of the College-Conservatory of Music by Andrew S. Collins B.M., Concordia College, 1997 M.M., Boston University, 2002 March 2011 Committee Chair: Earl Rivers, D.M.A. ABSTRACT This study focuses on the connection between poetry, choral composition, and choral performance, specifically how an understanding of the constructive elements of poetry can influence the interpretation of a choral score. The focus is on secular, English-language, accentual-syllabic poetry written in the United States and set to music by composers from the United States; free verse is not included in this document. Most studies of the interconnectedness of poetry and choral music have focused on either the meaning of the text or on “text painting.” By contrast, this study focuses on poetic constructive devices such as meter, form, and punctuation, and the implications such devices can have for choral performance, especially in regard to tempo, phrasing, articulation, and dynamics.
    [Show full text]
  • International Journal of Social Sciences (IJSS) American Humor In
    International Journal of Social Sciences (IJSS) Vol.3, No.2, 2013 American Humor in Promoting the Talk over the Wall with a Focus on Robert Frost’s Poems Ebrahim Sheikhzadeh1 English Language Department, Islamic Azad University, Damavand Branch, Iran Masoumeh Ouladian Education Department, Islamic Azad University, Damavand Branch, Iran Ida Rochani Adi The Arts and Cultural Department, Gadjah Mada University, India Received 10 April 2013 Revised 2 June 2013 Accepted 11 June 2013 Abstract: The Yankee is an American national phenomenon. He had leapt into national stature when slipped outside of his local character. A myth was woven around him and a cult of the Yankee developed by the permeation of the Yankee characteristics in many different characters who played tricks or told stories and entertained their audiences. The present article is an attempt to observe the Yankee myth, its origin, evolution and its incarnation in Robert Frost. It takes us to a journey back to the beginning of American history when the nation was about to find an identity for its own and to the native soil where its national funny figure sprang. Humor as the accommodating genre that hosts the Yankee myth is to be studied of its essence and manifestations. Frost as an icon of Yankee values representative of the mood and minds of the nation and the humor in his poems are to be focused on. The image of Frost as an American poet who very often receives appraisal for the terrifically tragic portraiture of life and whose poems are said to yield most fully to a design of darkness will be looked upon beside an image of him as the poet of many brilliantly comic poems who with serious artistic intent can give us a literate laugh.
    [Show full text]
  • Robert Frost Pdf, Epub, Ebook
    ROBERT FROST PDF, EPUB, EBOOK Gary D. Schmidt,Henri Sorensen | 48 pages | 19 Jun 2008 | Sterling Juvenile | 9781402754753 | English | New York, United States Robert Frost PDF Book Never show surprise! Frost then went on an excursion to the Great Dismal Swamp in Virginia and asked Elinor again upon his return. Frost was forced to settle for another at Pinkerton Academy, a secondary school. Read texts about this poet. Born in , Hilda Doolittle was one of the leaders of the Imagist movement. Frost then decided to leave on a trip to Virginia, and when he returned, he proposed again. Theodor Geisel write-in. In sharp contrast, the founding publisher and editor of Poetry , Harriet Monroe , emphasized the folksy New England persona and characters in Frost's work, writing that "perhaps no other poet in our history has put the best of the Yankee spirit into a book so completely. She was starting down, Looking back over her shoulder at some fear. Elinor Miriam White. Proud of his accomplishment, he proposed marriage to Elinor Miriam White, but she demurred, wanting to finish college at St. After high school, Frost attended Dartmouth College for several months, returning home to work a slew of unfulfilling jobs. His father was also known to be a gambler, a hard drinker, and a harsh disciplinarian. Good-by and Keep Cold. Frost School in Lawrence, Massachusetts , and the main library of Amherst College were named after him. Steeple Bush, Holt, Robert Frost was an American poet who depicted realistic New England life through language and situations familiar to the common man.
    [Show full text]