In “Tree At My Window” by Robert Frost Essay

In Tree At My Window, Robert hoar addresses a tree growing outside of his bedroom window with these words to a greater extentover treeYou have square upn me when I slept, I was taken and swept / And every(prenominal) further lost. / That day she put our geniuss together, / Fate had her imagination intimately her, / Your head so much concerned with outer, / Mine with inner, weather. In these lines frost conveys several(prenominal) emotions and themes that infiltrate m any of his works. These common themes include wickedness, nighttime, isolation, inner turmoil and the foreboding of death. It is through these repeat experiences that we ar able to glimpse into Robert icing the pucks life, and mind how greatly his life effected his poetry.Robert Frost endured piece of musicy ablaze hardships in his life. Some of the most significant and tragic, argon the numerous deaths in his immediate family. By the time Frost was 27, he had lost both of his p arnts, his son Elliott, as well as his grandfather, the man who had served as a surrogate father to him after the death of his own father when he was only 11. By the time Frost was 62, he was forced to exercise his sister Jeanie to a intellectual hospital. He had also lost leash more of his seven children (one to a miscarriage), as well as his wife Elinor, the love of his life. Five years later, his son Carol committed suicide. form Pools is a reflection on Frosts inner emotions in dealing with the deaths of his children. The pools, that though in fo assuagements, still reflect / The total throw away almost without defect, are his children. He speaks of their innocence, and the fact that they are too young person to know the imperfections of the world, too young to be jaded, or even terrified of their forthcoming death.The poem is entitled cringe Pools, however it does non progress to an illusion of Spring in the traditional senses of newness, rejuvenation, joy & rebirth. Rather the depot sprin g is exercised in the title in much the aforementioned(prenominal) way as the term Spring lamb, an animal whose only figure behind existence born is to be slaughtered at the end of the season.The trees and root are symbolic of both death and God. He implores the trees that have it in their pent-up buds / to darken nature to thinktwice before they use their powers / To blot out and sweep away / These flowery waters. He is literally begging God to reconsider when bringing death upon his children, yet he knows that he is not the force controlling the situation. He knows that his children will like the flowers beside them soon be gone. The fresh pools, from snow that melted only yesterday, are spoke of with a touch of nostalgic innocence.Frost puts both himself and Elinor, in the poem as, a flower beside the pools. In referring to the pools as flowery waters, he is not only showing the parental bond surrounded by the pools and the flowers beside them, exactly also intensifying th e image that the pools are soft, young and innocent. He speaks of their ill-timed death, not out by any brook or river, / that up by roots to bring dark foliage on with fat-rooted tints of loss brought on by his own personal tragedy.Spring Pools contains within its lines the themes of darkness, sadness, and inevitable death. It shows Frosts struggle to control occurrences in his life that are virtually insuperable. At the end of the poem, he easily comes to terms with the uncertainty of life, and he begins to resolve his feelings of contempt for the collective world. Frost is rarely satisfactory or resolved with his choices, however he is pass judgment of his future uncertainties. At the end of most of Frosts poems, he has generally resolved or come to terms with his emotional and mental turmoil. Many of his works share these same inner conflicts, such as his poem The Road Not taken.Frost uses The Road Not Taken as poem as a metaphor for the mass measuring rod of travel th at he was doing in the period of his life in which it was written. amidst 1909-1915, Frost and his family relocated their collection plate twelve times. They lived in several places on Americas East Coast, including New Hampshire, Massachusetts, and the Virginia-North Carolina border, as well as England, Gloucestershire, and then back to New York. It was during this time of transporting his family back to America that Frost wrote The Road Not Taken.In The Road Not Taken, Frost speaks of cardinal roadsin a yellow wood andthe decision that he must make in choosing one path over the other. He looked waste one as far as I could / To where it hang in the undergrowthThen took the other, as just as fair, and scrutinized its possibilities and authorisation in comparison to the first road. He eventually comes to a decision, deciding to keep the first for another day / Yet knowing how way leads on to way, / I doubted if I should ever come back.But is he cheery with his decision? Of wr angle not I shall be telling this with a respire / Somewhere ages and ages hence / Two roads diverged in a wood and I / I took the one less traveled by, / And that has make all the difference. He is not satisfied with his decision, as is make unmixed when he says that he will be telling this with a sigh somewhere in the future. However, one does not have to be satisfied with their decision to accept it. Choosing the road less traveled by has made all the difference in his life, exactly Frost does not stand for that his choice was the one that produced the best possible outcomes in his life.Many of Frosts poems concern his future and making decisions that will effect the rest of his life. The poem An Old Mans Night was first promulgated at the same time as The Road Not Taken. It was a time of great unsettlement, both mentally and physically for Frost. Frost was travelling from one city to another trying to establish his roots. His poetry was being received quite well, but his pe rsonal life was in a disheveled state. Elinor was becoming ill due to a weak nerve and she suffered a miscarriage.Frost tutelageed for her life, as well as fearing the loneliness that seemed to be inevitably looming in his future. He had suffered quite a substantial add together of grief and heartache, and he was terrified of the thought of acquiring old by himself. He had been known to hear voices in his head as a child, however, Frost remained adamant that these voices had disappeared when he entered adulthood. Most critics, however, agree that Frost ref utilize to halt that the voices still occupied his psyche in order to avoid ridicule or institutionalization.The old man in An Old Mans Winter Night, can be cons currentd to be Frost himself when he states ambiguously, wholly out of doors looked darkly in at him / Through the thin frost. The man is old and alone, not able toremember his reasoning and decisions. He goes into his cellar, but what kept him from remembering wha t it was / that brought him to the creaking room was age. / He stood with pose round him at a loss. The stillness of the house is obvious in the amplification of common noises. He scared the cellar under him / In clomping in hereand scared the outer night / Which has its operates, familiar, like the noise / Of trees, and crack of branches, common things. / But nothing so like shell on a box.Frost feels that without anyone around him in his life, his life would obtain insignificant, a light he would be to no one but himself. He identifies with the darkness, calling the moon as better than the sun in any case / For such a charge. He is able however, to find relaxation and sleep in the darkness that envelops him. The log that shifted with a jolt / erstwhile in the stove disturbed him and he shifted, / And eased his heavy breathing, but still slept. Although he is not capacitance, he is beginning to accept that this whitethorn be a potential outcome of his life. The final lines convey his fear of the future when he says, One aged man one man cant keep a houseor if he canIts thus he does it of a winter night.The darkness and mystery that couple with nighttime are key players in many of Frosts metaphors. He very much uses a winter night as his setting, and most commonly, the speaker is either travelling or walk of life out in the cold. Frost himself was rumored to be afraid of the dark, but he was also known for taking long walks in the dark. This was a transparent way of confronting his fears by staring the darkness in the face and stand up to the nighttime that terrified him. After years of this practice, Frost assemble himself not only comfortable and at ease in the darkness, but he found also that the nighttime was where he became the most content and free from anxiety. Frost was a very contemplative man, and he used his work to convey his inner thoughts and fears.In Good Hours, Robert Frost writes about a late evening walk passel a winter lane. The rhyme scheme of this poem is a simple A, A, B, B imitate and is broken down into four stanzas of four lines each. The speaker walks in pensive silence, having no one at all with whom to talk. As he walks downthe winter lane, he personifies the dyspnoeal objects that surround him, and gives light and life to the environs that fill the bleak night.The main unification in this poem comes from the recurring themes of darkness, amplification of sound and stillness, and the speakers inescapable loneliness. The speaker is feeling isolation from the world around him, and he cannot escape that feeling no matter how hard he tries to disillusion himself that his life follows the same course as the lives of the people that he sees in the cottage windows.The night is nongregarious and the speaker tells of cottages in a row / Up to their shining eyeball in snow. How can a cottage have eyes, the organs of vision, if it does not possess the sense of sight? But to the speaker, the cottage s are enormously alive, and the windows are the eyes from which he can see into the cottages soul. eyeball themselves do not literally shine, but in this instance, it is literally true to say that the eyes of the cottage were shining from the light within.The inside of the cottages are full of people performing various activities, and although the speaker is not include in the actions of their lives, he feels as though he is a small-arm of it all, I thought I had the folk within / I had the sound of a violin. The speaker catches a glimpse from behind a overwhelm of curtain laces youthful forms and youthful faces. (This too, can be construed as an image of his children, partially veiled by a shroud of death). He allows himself to construct an integral part of the background scenery to such an extent that it satisfies him and keeps his mind occupied. Notice that he never once mentions the bitter cold that should accompany a snowy winter evening.Although he has no human fellow tr aveller with him, the speaker has such company outward bound, that he continues to walk cloudy into the night until there were no cottages found. He has been in such deep thought that he has not realized that he has reached the end of the town. He turns and realizing that he has been out such a long time and that it is getting very late, I saw no window but that was black, he heads back toward his home. He crossesthe slumbering village pathway with his creaking feet, a enigma since the passage cannot actually rest or sleep because it is not living. An inanimate object does not need sleep or rest, however, when he disturbs the streets slumber, he feels it is like profanation. He is disrespecting the street and putting it to an indecorous use at this time of night, at ten o time of a winter eve, when everything else in the town is at rest and still. The street is empty except for one last wanderer still traversing down a lonely lane.Frost deals with recurring themes of darkness, loneliness, death, and uncertainty. Through these themes, Frost reveals himself in candid form. He was a natural born worrier who often got nervous stomachaches. These occurrences became so frequent that eventually they drove him to quit indoctrinate for several years. He had fears of abandonment in his childhood, which lead to feelings of isolation in adulthood. Both of these projections can be seen in lines from Desert Places. I am too absent-spirited to count / The loneliness includes me unawares. Frost writes, They cannot scare me with their empty spaces / in the midst of starsI have it in me so much nearer home / To scare myself with my own desert places.By making the parallel between Frosts life and his poetry, we are able to clearly see how his life experiences shaped his poetry. These experiences gave birth to some of his greatest works, and from these works we see the man behind the poetry. We see a man who dealt with more heartbreak, hardships and sorrowfulness than mos t should have to endure. We see a man who put more effort and soul into his work, than many will ever attempt. And we see a man whose works have inspired many, and will continue to do so for generations to come.