Study Matrix: Robert Frost Poems
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Study Matrix: Robert Frost Poems
Introduction
Literal forms of language and especially as they are used in poem are for adding flavor to the work as the reader goes through it. According to Dobrovol’skii (9), one of the greatest forms of literal form is the figurative language whose main aim is to bring a lot of emphasis to the work. Such many include imagery, similes, metaphors, alliteration and repetition. Most poets fail to utilize these arts, and as is noted by French (128), this is bad for such to remain unexplored and makes people be stuck to the old forms of analysis. They fail to capture the analytic paradigms as is required of any kind of work, especially, that which has to do with bringing out a hidden message for the readers to understand. Poetry is created by these literal forms, and this is qualified by Campbell (122) when he notes that poetry is there to create some illusions through the discursive materials such as symbolism. Actually, the literal forms are utilized by the author or the poet to mean by use of other words what he or she may wish it to be interpreted (Vickler 100). Rhyming in the poem are the end words in the end of sentences that have a similar sound at the end, while meter refers to the words that tend to have an emphasis during pronunciation. Figurative languages are the words that are creative in nature or put more emphasis, and in this poem, the kinds are like simile, personification, alliteration, repetition among others.
|
Rhyme |
Meter |
Figurative Language |
Symbolism |
Tone/Style |
Romantic/Modern or both |
|
|
Blueberries |
Green and See, fall and wall, stick, thick and trick, alive and drive, know and grow, flower and shower, mirth and earth, him and whim, round and ground, while and mile; and leaves and thieves |
Mortenson’s, Blueberries, Cavernous, unless, and to-morrow. |
Simile (like birds, like trolls, like two kinds of jewels), as (your voice was as low as talking) Alliteration (the sun shines) |
Blueberry is symbolic to mean the importance of the wild fruits |
There is a flowing style, especially with extensive use of rhyming words |
There is modernity in this poem. This is more where the poet combines narrative plus some form of first persons in quotes. |
|
To E.T. |
Face and race, Rhine and mine |
Slumbered, missed, and remained, gained, beyond and pleased. |
Simile (Like dove wings) Irony (The foe thrust back unsafe) |
Brother symbolizes a noble self-sacrifice antagonism or war in most romantic way. |
|
This poem is romantic in the way words flow and the association that the poet makes, especially in reference to Thomas (E.T) |
|
The Gift Outright |
N/A |
Possessed, unprocessed, withholding, unenhanced, westward and England’s |
Repetition (The land was ours…we were the lands, possessed by what…no more possessed, such as she was, such as she would become, possessing what…were unprocessed by), Alliteration (we were we), personification (she was our land) |
N/A |
It has a flow, especially with the use of so many repetition as a form of emphasis |
The poem does not belong to the present day especially when it lacks any of the rhyming words |
|
A Peck of Gold |
Town and down, told and gold, gate and eat |
Gold, children |
Irony (some of the blowing dust was gold |
N/A |
N/A |
N/A |
|
Putting in the Seed |
Earth and birth, seed and weed, white and quite |
Wrinkled, arched, shouldering |
Simile (like me, just as the soil tarnishes) |
N/A |
N/A |
N/A |
|
Rose Pogonias |
Small and tall |
N/A |
Personification (Where the wind was quite excluded) |
N/A |
N/A |
N/A |
|
The Oven Bird |
Fall and all, birds and words, sing and thing, heard and bird, flowers and showers, birds, and words |
Diminished, mid-wood |
Simile (to spring as one to ten, be as other birds), |
Solid tree trunks (going of the spring), dog days (summer) |
N/A |
N/A |
|
Love and a Question |
Fair and care, night and light, fire and desire, within and pin; and purse and curse |
Bridegroom, harboring, poor |
Irony (bent over the open fire) |
N/A |
N/A |
N/A |
Conclusion
As Frost (4) notes of himself, his world was all about poetry, and he actually showed how much he is rich in the literal forms in virtually all of the poems that he wrote. He has a mastery of his own art, and as many other would review of these poems, they understand clearly his world and the intended message. However, what can be said of him is that he is not too far from ambiguity and this emanates from the kind of messages that he tries to portray in his poems (Timmerman 17). However, these ambiguities are at all not to be criticized as they bring out the intended sense of any kind of poetry, and therefore is pure celebration of the person he had turned himself. Bloom (45) puts Robert Frost as somebody who portrayed his own intelligence, and the poems he wrote would have their relevancies cut across all generations, whether young or old. He had a strong kind of poetic vocation that is only displayed by persons of high intelligence in the way to utilize art and the many literal forms of art. As Carroll (1) notes in her poem, success is built by strong will on how much the person creates to deliver some power punches. This is to make sure that the readers think seriously on how the message has been hidden and come up with ways to get this message. This can be analyzed of Robert Frost as somebody who is successful in his own way in creating some forms of poems that can be analyzed deeply by the readers.
Works Cited
Bloom, Harold. Robert Frost. Broomall: Chelsea House Publishers, 2003.
Campbell, Paul. Form and the Art of Theatre. New Jersey: Taylor and Francis Publishers, 1984.
Carroll, Marilyn. Antidotal Poetry for Career and Personal Success. Bloomington: AuthorHouse Publishers, 2007.
Dobrovol’skii, Dmitrii. Figurative Language: Cross-Cultural and Cross Linguistic Perspective. Amsterdam: Emerald Group Publishing, 2005.
French, Peter. Figurative Language. Malden: Blackwell Publishers, 2001.
Frost, Robert. Robert Frost: Poetry for Young People. New York: Sterling Publishing Co, 1994.
Timmerman, John. Robert Frost: The ethics of Ambiguity. Cranbury: Rosemont Publishing Corp, 2002.
Virkler, Henry. Hermeneutics: Principles and Processes of Biblical Interpretation. Belmont: Wadsworth CengageBrain Publisher, 2007.