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Robert Frost, “Mending Wall" analysis
Robert Frost, “Mending Wall" analysis
Robert Frost, “Mending Wall" analysis
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An Analysis of Mending Wall
Robert Frost once said that "Mending Wall" was a poem that was spoiled by being applied. What did he mean by "applied"? Any poem is damaged by being misunderstood, but that's the risk all poems run. What Frost objects to, I think, is a reduction and distortion of the poem through practical use. When President John F. Kennedy inspected the Berlin Wall he quoted the poem's first line: "Something there is that doesn't love a wall." His audience knew what he meant and how the quotation applied. And on the other side of that particular wall, we can find another example of how the poem has been used. Returning from a visit to Russia late in his life, Frost said, "The Russians reprinted 'Mending Wall' over there, and left that first line off." He added wryly, "I don't see how they got the poem started." What the Russians needed, and so took, was the poem's other detachable statement: "Good fences make good neighbors." They applied what they wanted. "I could've done better for them, probably," Frost said, "for the generality, by saying:
Something there is that doesn't love a wall,
Something there is that does.
"Why didn't I say that?" Frost asked rhetorically. "I didn't mean that. I meant to leave that until later in the poem. I left it there."
"Mending Wall" famously contains these two apparently conflicting statements. One begins the poem, the other ends it, and both are repeated twice. Which are we supposed to believe? What does Frost mean? "The secret of what it means I keep," he said. Of course he was being cagey, but not without reason.
At a reading given at the Library of Congress in 1962 Frost told this anecdote:
In England, two or three years ago, Graham Greene said to me...
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...ating a similar moment each time it is encountered.
Works Cited and Consulted
Barry, Elaine. Robert Frost. New York: Frederick Ungar Publishing Co. 1973.
Robert Frost. “Mending Wall.” Making Literature Matter: An Anthology for Readers and Writers. Ed. John Schilb and John Clifford. New York: Bedford/St. Martin’s, 2000. p106-107.
Gerber, Philip L. Robert Frost. Ed. Kenneth Eble. Boston: Twayne Publishers. 1982. 124-125
Lentricchia, Frank. Robert Frost: Modern Poetics and the Landscape of Self. Durham: Duke University Press. 1975. 103-107.
Zverev, A. A Lover's Quarrel with the World: Robert Frost. 20th Century American Literature: A Soviet View. Translated by Ronald Vroon. Progress Publishers. 1976. 241-260. Rpt. in World Literature Criticism. Vol. 2. Ed. James P. Draper. Detroit: Gale Research Inc. 1992. 1298-1299.
Pritchard, William H. Frost: A Literary Life Reconsidered. Amherst: The University of Massachusetts Press, 1985. 43.
Though most works of art have some underlying, deeper meaning attached to them, our first impression of their significance comes through our initial visual interpretation. When we first view a painting or a statue or other piece of art, we notice first the visual details – its size, its medium, its color, and its condition, for example – before we begin to ponder its greater significance. Indeed, these visual clues are just as important as any other interpretation or meaning of a work, for they allow us to understand just what that deeper meaning is. The expression on a statue’s face tells us the emotion and message that the artist is trying to convey. Its color, too, can provide clues: darker or lighter colors can play a role in how we judge a piece of art. The type of lines used in a piece can send different messages. A sculpture, for example, may have been carved with hard, rough lines or it may have been carved with smoother, more flowing lines that portray a kind of gentleness.
Philip, Lotte Brand. The Ghent Altarpiece and the Art of Jan Van Eyck. Princeton, N.J.: Princeton UP, 1971. Print.
Frieda Kahlo was born Magdalena Carmen Frieda Kahlo y Calderon in Coyoacan, Mexico, July 6th, 1907. She did not in the first place plan to become a creator; she entered a pre-Master of Education system in Mexico City. She endured more than large integer dealing in her brio time and during her convalescence she began to discomfit. Her beaux-arts, mostly self-portraits and still life, filled with the colors and forms of Mexican folk art. Frieda created some 200 spacing’s, artistic production and sketches germane to her education in life, physical and aroused pain and her churning relationship with her ex husband Diego. She produced 143 beaux arts, lv of which are self-portraits. At the time of her exhibition first step, Frieda’s health was such that her Doctor told her that she was not to leave her patch. She insisted that she was going to wait on her opening, and, in Frieda style, she did. She arrived in an ambulance and her bed in the backward of a transport. She was placed in her bed and four men carried her in to the waiting guests.
"Mending Wall" is a poem written by the poet Robert Frost. The poem describes two neighbors who repair a fence between their estates. It is, however, obvious that this situation is a metaphor for the relationship between two people. The wall is the manifestation of the emotional barricade that separates them. In this situation the "I" voice wants to tear down this barricade while his "neighbor" wants to keep it.
...n himself (13-14, 16). Perhaps, as this is the earlier of the two poems, Frost had not yet worked out the conditions and paths one must meet in order to find an inner peace.
To start off this essay, it is important to note what is meant when using oppression in the terms and context of a sociologist. Oppression causes certain groups of people to be or advantaged in a political system whereas other groups of people are considered to be subordinate (Glasberg, pg. 1) One of the major groups that has been oppressed Universally are women (there are exceptions, but not many). Women have typically had not had the rights, privileges, or participation as it relates to political
In 1939, Rankin once again ran for a seat in the U.S. House of Representatives, winning based on her anti-war position. She voted against entry into war, although Pearl Harbor was bombed in 1941, being the only protesting vote. After the end of th...
Frost, Robert. A. A. “The Lover Not Taken.” Literature and the Writing Process.
The Edict of Milan was proclaimed by the Roman Emperor Constantine after he defeated the Emperor Maxentius at the Battle of the Milvian Bridge. After Constantine’s victory over Maxentius, the Roman senate celebrated by creating an arch at the base of the Palatine, known as the Arch of Constantine. It marvels with the old construction structures of free-standing columns, consisting of the carved reliefs of victories, trophies, and a triple gateway. The Arch of Constantine has circular reliefs representing the sun and moon on the east and west ends. On the keystones of the arches, there were carvings of the river and other gods. A very significant and astonishing aspect of this arch is the historical pattern, called the frieze, that was carved on the sides of the arch representing the ethic and style of architecture of that time period.
The health status of the African American has been declining over the last century. Studies have shown that African Americans have less access to appropriate health care and that includes preventative care for children and adults. African Americans are not only more susceptible to disease and illness; they are also more likely to die from them. This minority tends to have the worst indicators of all health minorities. So has life expectancy improved for African Americans? Yes, it has improved. “The life expectancy has improved greatly for all Americans during the last century.” (Black Demographics,’n.d.’) This paper will compare the health status of the African American and the barriers that
Frost, Robert. “The Road Not Taken.” Literature: An Introduction to Fiction, Poetry, Drama, and Writing. 7th ed. Boston: Pearson, 2013. 689. Print.
In the poem "Mending Wall," Robert Frost utilizes the literary devices of imagery, meter, and symbolism to demonstrate the rational and irrational boundaries or metaphoric "walls" humans place on their relationships with others. The precise images, such as the depiction of the mending-time ritual and the dynamic description of his "old-stone savage armed" neighbor, serve to enhance our enjoyment as well as our understanding of the poem (40). The poem is written in blank verse (iambic pentameter); the form that most closely resembles everyday English. Frost deliberately employs this direct, conversational, and easy to understand style of meter which appears simple on the surface. Although symbolism is used throughout, the three most significant symbols are: the wall, his neighbor, and Frost himself as the speaker. Analyzing each of these devices as well as how they harmonize with one another is necessary in order to appreciate what Frost was revealing about human behavior.
Frost, Robert. “The Road Not Taken”. The Norton Anthology of American Literature. 7Th Ed. Nina
Print. Lentricchia, Frank. Robert Frost: Modern Poetics and the Landscapes of Self. Durham, NC: Duke UP, 1975. Print.