Robert Frost a Nature Poet | A Comphrhensive Essay of 4000 words | HEC Sparknotes 2024
Robert Frost a Nature Poet
" Robert Frost's perspective on nature can be
described as a harmonious balance, where both parties coexist peacefully while
occasionally venturing into each other's territories." Marion Montgomery.
Keats, W. H. Davies, and the Pre-Raphaelite
poets simply observed and documented the wonders of nature. To them, a
beautiful thing brought everlasting joy, and nature was a boundless source of
beauty. Shelley and Whitman, among others, took a vantage point to witness the
vastness of nature and society intertwined. Others, such as Wordsworth and
Hardy, found a spiritual essence in nature. They believed that nature had a
voice, speaking a meaningful language that inspired deep philosophical
contemplation within them. Writers such as Poe, Melville, and Henry James can
also be included in this group. However, Frost's approach to nature
incorporated elements from all of these sources.
He fails to recognize the inherent spirit that
Wordsworth observed in the natural world. In The Star-Splitter, he remarks,
"You know Orion always comes up sideways." In Two Tramps in Mud Time,
he playfully teases the seasons. According to Time Out, he describes a mountain
with a slant resembling a book held up before his eyes. However, the mountain
does not possess the same significance for Wordsworth in The Prelude and other
poems. In New Hampshire, Frost expresses his straightforward perspective on
nature: "I have no reservations about embracing nature," and further
adds, "Anything not man-made is not inherently sacred." Frost
incorporates nature as a backdrop. Typically, he starts his poems by observing
something in nature and then relating it to a human situation or concern.
However, Frost does not align with transcendentalism or pantheism.
The way Robert Frost incorporates nature into his poetry is often misinterpreted. Frost repeatedly emphasized, "I do not consider myself a poet of nature. There is typically a person present in my poems." Critics have varying opinions on his classification as a poet of nature, but one aspect on which nearly all critics concur is Frost's keen observation and precise depiction of the various elements of nature in his poems. Schneider expresses admiration for the remarkable descriptive power found in Mr. Robert Frost's poetry. The reader is able to experience a snowfall, a spring thaw, a bending tree, a valley mist, and a brook in a straightforward and accessible way. Robert Frost's belief centered around a universe that was constantly evolving and had no definitive answers. He rejected the idea that systematic thought, such as science, religion, or philosophy, could fully explain it. He stated that evolution was just a metaphor for a changing world.
Robert Frost employs nature as a metaphor. He notices a similarity between something in nature and something else. He guides us towards establishing a connection without imposing it on the reader. At face value, Frost's poems are always clear and understandable. His information is accurate, particularly when it comes to botanical and biological terms. However, he isn't attempting to recount tales of nature or animals. He frequently employs metaphors that draw parallels to human issues. The reader might or might not recall the same thing that the poet had in mind while writing the poem, but the poet desires the reader to be in the vicinity. Frost is commonly referred to as a storyteller. His poetic inspiration begins with a psychological interest and manifests itself in a tangible form, often depicting a natural setting. Robert Frost consistently approaches his descriptions with a gentle touch, employing effective poetic techniques, particularly through the use of figurative language. Robert Frost fails to recognize any inherent connection or ongoing bond between humanity and the natural world. Wordsworth clearly accomplishes this. Frost's approach to nature is devoid of Wordsworthian enthusiasm. In general, Frost's portrayal of nature is devoid of personal attachment, showing indifference and otherness. He is a poet who deeply contemplates the profound meaning of external nature, rather than simply observing and recounting it in his poetry.
The Pastoral Element in Frost's Poetry
Robert Frost's poetry is characterized by a dominant
pastoral element. He is widely regarded as a poet who beautifully captures the
essence of nature in all its forms, from pastures and mountains to rivers and gardens.
His deep connection to the land, as a farmer himself, shines through in his
work. Therefore, nature was always by his side. Frost captured the essence of
his surroundings by portraying the fields and farms, carefully observing the
intricacies of rural life that hold deeper significance. He has a deep
understanding of the earth's fertility and the connection between humans and
the soil. M. L. Rosenthal regards Frost's pastoral quality as the foundation of
his reputation, characterized by his lyrical and realistic portrayal of rural
and natural settings. Frost delved into the connection between nature and
humanity. In the poem "Mending Wall," the author expresses:
"Something
there is that doesn't love a wall,
That
wants it down." I could say "elves" to him.
But
it's not elves, exactly, and I'd rather
He said it for himself.”
Robert Frost's pastoral scenes frequently offer
profound philosophical insights.
“Two
roads diverged in a wood, and I
I
took the one less traveled by,
And
that has made all the difference.
[The Road
Not Taken]
Robert Frost has a deep appreciation for nature. His
appreciation for nature stems from his temperament and background. He had a
dual passion for farming and poetry. He had always been surrounded by nature,
just like Wordsworth. Frost had a keen appreciation for the beauty of nature,
both in its grandeur and its delicate details. He had a knack for noticing
things that others missed, and he described them with great affection. In his
poem Birches, he expresses:
Earth's
the right place for love:
I
don't know where it's likely to go better.
I'd
like to go by climbing a birch tree.
And
climb black branches up a snow-white trunk.
Toward
heaven, till the tree could bear no more,
But
it dipped its top and set me down again.
The descriptions of nature in his poetry play a
crucial role in conveying the main theme of his poems. The descriptions in the
poem are fitting for the situations it portrays and are not forced upon them.
In his nature poems, such as Blueberries, The Wood Pile, and Birches, the focus
is primarily on the conversations between people, with references to nature
playing a secondary role.
Lack of Connection with Nature
Robert Frost's poetry often explores the significance
of nature. However, Frost does not align himself with the nature poets in the
tradition of Wordsworth. Frost's most notable poetry focuses on the
relationship between humans and the natural world, while Wordsworth excels at
capturing the emotional essence of natural landscapes. "Sure, I can help
you with that. It's a straightforward process that won't give you any trouble.
Just follow these steps, and you'll be done in no time." Frost's work
lacks any hint of mysticism. He has no desire to find a sense of unity with all
of creation or to connect with a higher power through nature. His perspective
on life is straightforward and unadorned. He sees everything as inherently good
and valuable, without any ulterior motives or hidden meanings. When Frost
states, 'All revelation has been ours', he is conveying a clear and straightforward
message. He doesn't talk much about what happens to us after death, mainly
because he's focused on the present. Frost views everyday life as filled with
abundant wonders, both natural and supernatural. Unlike visionary poets like
Blake and Wordsworth, Frost's poetry is rooted in the simplicity and ease of
ordinary experiences. He has no desire to predict the future. At times, his
tone may come across as didactic, but that's because Frost is just as eager to
instruct and convince himself as he is to do so for others.
As time went on, Frost grew increasingly
conscious of the artificiality that often accompanies human theorizing. He
became increasingly unsettled by the uncertain position of humans in the
natural world. In one of his poems, a human couple finds themselves in the
woods, unexpectedly encountering a doe and a buck. In that fleeting moment, it
appears as if the earth reciprocates their love. However, in a later poem
called "The Most of It," the speaker eagerly awaits a response from
the universe, only to be met with the echoing silence of their own voice. Yet,
in a surprising turn of events, they eventually hear a different sound—the
majestic sight of a powerful buck swimming across the lake, its heavy footsteps
stumbling over the rocks. And that is the entirety of the experience.
And
nothing ever came of what he cried.
Unless
it was the embodiment that crashed,
In
the cliff's talus on the other side, there is a dog.
And
then in the far-distant water splashed,
But
after a time allowed for it to swim,
Instead
of proving human when it neared
And
someone else, in addition to him,
As
a great buck, it powerfully appeared.
Pushing
the crumpled water up ahead,
And
it landed, pouring like a waterfall.
And
I stumbled through the rocks with a horny tread.
And
forced the underbrush—and that was all.
Robert Frost's poems often involve direct conversations
with objects found in nature. In the poem Good-bye and Keep Cold, the speaker
addresses an orchard, requesting its vigilance against the rabbits and deer
that could devour it. In The Tree at My Window, the author converses with a
tree that is swayed by the winds, drawing parallels between its condition and
his own. In these instances of direct address, though, it doesn't seem like
Frost acknowledges any sort of kinship with natural objects, a sentiment that Wordsworth
often conveys in his poetry.
In Robert Frost, humans always possess a fundamental distinction from other things and objects. His trees, despite his conversations with them, do not display a serious demeanor. The weather they experience is quite different from what I observe from my window. They gracefully drop their leaves, resembling girls drying their hair in the warm sunlight. However, this pertains to the movement of natural entities rather than the realm of emotions, resembling humans but lacking their inherent sentiments. In A Considerable Speck, he remarks on the straightforward intelligence he encountered while examining the tiny creature. In Departmental, he appears to be interpreting the ants from a human perspective. However, it would be incorrect to assume that he ascribes consciousness to the small creature in the initial poem or interprets the actions of the ants in the second as human behavior. In each of these poems, Frost subtly lays the groundwork for straightforward expression. The first poem presents a delightful expression of joy upon discovering even the slightest hint of intellect on any page. The second poem concludes by remarking on the ants: "Remarkably specialized." In The Bear, we come across the lines: "The world provides ample space for a bear to experience freedom; in contrast, the vastness of the universe feels constricting to both you and me."
He effortlessly observes the world around him
while also delving deep into his own poetic thoughts. He approaches nature
differently than Wallace Stevens or Edwin Muir. He rarely asserts himself in
the outside world. Instead, he achieves a delicate balance in his poems,
seamlessly blending the world he observes and engages with while remaining
acutely attuned to the intricate interplay of his thoughts and emotions. In
summary, Frost appears to believe that the natural world is devoid of emotion
and, at most, only concerned with animal existence.
The Dark Beauty of Nature
Within the seemingly familiar and rustic
exterior, Frost's poetry often reveals a somber and unsettling atmosphere, as
described by Rosenthal's interpretation of his "startled perception of
powerlessness."Frost had a belief in the ability of humans to accomplish
remarkable feats of comprehension in their natural surroundings. However, he
also held the belief that nature remained indifferent to both human
accomplishments and human suffering. Indeed, in Frost's work, nature could also
be quite unfriendly. The speaker of Design, for example, ponders the mystery
that has caused a spider to take the life of a moth during the span of a single
night.
What
brought the kindred spider to that height?
Then
steered the white moth thither in the night?
What
but the design of darkness to appall? -
If
design governs a thing so small,.
Although humans can gain insights about
themselves from nature, its enigmatic nature and its workings continue to elude
us. The tone of Design and in Once by the Pacific caught Rosenthal's attention,
leading to his comment: "Frost's powerful writing evokes a sense of 'the
horror' similar to Eliot, pushing the boundaries of sensibility. Frost's work
reflects the modern mind's quest for meaning." Frost's late poems explore
the profound vulnerability of humanity when confronted with the forces of
nature. Frost viewed nature as a formidable entity that could bring about man's
downfall, yet he also perceived man's confrontation with nature as a courageous
endeavor. As expressed in his poem "Our Hold on the Planet,"
There
is much in nature against us. But we forget:
Take
nature altogether since time began,
Including
human nature, in peace and war,
And
it must be a little more in favor of men.
Say
a fraction of one percent at the very least.
Or
our number living wouldn't be steadily higher,
Our
hold on the planet wouldn't have increased so much.
The theme of chaos is prevalent in his work. A
poem entitled as "The Fear ends with these simple and straightforward lines: 'We
must exercise caution. This place is incredibly isolated'." The sentiment
expressed in these lines mirrors that of the subsequent poem, Desert Places.
I
have it in me, so it is nearer home.
To
scare myself with my own desert places
Robert Frost, in contrast to Wordsworth, does not
possess a mystical connection to nature. He fails to perceive any connection
between nature and humanity, nor does he detect any inherent essence or
influence within them. He doesn't see any transformative potential in it to
address the problems of society and individuals. He sees nature as something
separate from humanity.
A Practical Perspective on the Natural World
Frost's perspective on nature mirrors the
mindset of the current era, which approaches nature, along with everything
else, in a scientific and realistic manner. He hasn't developed any philosophy
about nature for that reason. His poems lack the extraordinary moments of
inspiration found in the poetry of the romantic age, especially in the works of
Wordsworth. Frost's poems depict his everyday and ordinary experiences in a
straightforward manner. The breathtaking landscapes depicted in Frost's poems
not only captivate the reader with their beauty but also impart a profound
understanding of life. He fully expresses his sarcastic qualities when
describing scenes of nature. Frost portrays the contrasting elements of nature,
both its gentle and harsh sides, in a straightforward manner in his realistic
poems. Frost is known for his straightforward approach to observing and
describing the world around him, both in nature and in everyday life. That's
the reason why the character of nature varies from poem to poem in his poetry.
The poem Stopping by Woods on a Snowy Evening portrays the serene and enigmatic
atmosphere of the snow-covered woods, captivating the poet's attention. It also
highlights the poet's sense of obligation and lack of time due to his social
responsibilities.
The
woods are lovely, dark, and deep.
But
I have promises to keep.
And
miles to go before I sleep,
And
miles to go before I sleep.
In Two Tramps in Mud Time, Frost portrays the
delicate balance between the seasons in New England. While the surface may
appear serene and pleasant, he also reveals the hidden unrest and turbulence
lurking beneath the surface of nature. Thus, he abruptly interrupts his
friendly depiction of the April weather to emphasize:
Be
glad of water, but don't forget
The
lurking frost in the earth beneath
That
will steal the day after the sun is set.
And
the snow on the water has crystal teeth.
The poems like Pastures, Birches, Stopping by
Woods on a Snowy Evening, West Running Brook, After Apple Picking, An Old Man's
Winter Night, and Mending Wall all have a clear focus on the human experience,
with nature playing a significant role in the themes of these poems. Worries
and disappointments can make life miserable, but the poet still clings to them
out of love for the earth.
The connection between humans and the natural world
Frost believes that there is a straightforward
connection between humanity and nature in its typical states. In the poem On a
Tree Fallen Across the Road, the tree serves as a symbol of nature's deliberate
act, prompting us to question our own identity. However, nature understands
that resistance is futile and that we will not be deterred from reaching our
ultimate objective. In his poem titled For Once, Then, Something, he describes
a moment when he gazed into a well and perceived a faint, indistinct image
beneath his own reflection—a mysterious, pale presence. However, the tranquility
of the clear water was disrupted when a drop fell from a fern, creating a
ripple that obscured whatever was beneath. He inquires about its nature:
"Truth?" A small piece of quartz? Finally, something straightforward.
This brief glimpse did little to alleviate the chaos.
In certain poems by Frost, like After
Apple-Picking and Birches, trees serve as a connection between the earthly
realm, representing humanity, and the celestial realm, symbolizing the divine.
Trees serve as spaces that create boundaries, allowing for moments of
connection or revelation to occur. People can easily observe and analyze
humanity and the divine while being in the vicinity of these trees or within
their designated area. Forests and edges of forests serve a comparable purpose
as boundary spaces, like in the poems "Into My Own" or "Desert
Places." Ultimately, trees serve as natural dividers, separating various
areas or types of experiences. When Frost's speakers and subjects find
themselves on the outskirts of a forest, exploring its depths, or scaling a
tree, they inhabit transitional spaces, suspended between the earth and the
sky. In these moments, they connect with nature and encounter profound
revelations.
In Robert Frost's poetry, birds symbolize nature, while their melodies reflect nature's perspective on humanity. Birds serve as a means for the natural world to communicate with humans. However, their songs convey nature's apathy towards the human world, as seen in The Need of Being Versed in Country Things and Never Again Would Birds' Song Be the Same. Their melodies, though pleasing to the ear, lack a genuine connection to the human experience and our individual circumstances. Regardless, birds have the right to sing their songs, even if it bothers or upsets humans. In A Minor Bird, the speaker comes to the realization that songs, whether they are found in nature like birds or in culture like poems, must continue to exist. Frost also utilizes birds and their melodious songs to represent poetry, with birds serving as a means to reflect on the effectiveness of poetry in conveying emotions, as seen in The Oven Bird. Another graphic poem by Frost is "Looking for a Sunset Bird in Winter." In this poem, the author vividly portrays a bird that remains both unheard and unseen. At first glance, the poem appears to be a simple visual representation. However, the poet skillfully incorporates both music and deeper significance into the still image:
A
brush had left a crooked stroke.
Of
what was either a cloud or smoke?
From
north to south, across the blue:
A
piercing little star was through.
Robert Frost is captivated by the beauty of shrunken
brooks, expanding trees, dark woods, bright beaches, the wave-like shape of
sand dunes, and the way snow disappears. The woods are covered in a thick layer
of snow in the evening in a sugar orchard. However, they are not seen as a
somber symbol of icy demise. Contrarily, the poet finds solace in the stars:
Leo, Orion, and the Pleiades. In The Onset, once more, the woods are blanketed
in snow, but there is a sense of hope as life begins to emerge once again. The
sand dunes can be a treacherous environment due to the constantly changing
terrain. However, it is just another obstacle for mankind, another location to
construct and abandon, allowing him to have greater freedom to contemplate and
shed his old self. Even a nameless tree (in Tree at My Window) plays a role in
the lives of those around it. It also captures the captivating human drama
"taken and swept and nearly lost."
In reluctance, the complexities of human
responsibility and desire are made poignant by their stark contrast with their
simple and impersonal nature. This same idea holds true for Stopping by Woods.
In Stars, the speaker is moved by their realization that the stars do not
experience the same intricate range of emotions as humans do. In "Putting
in the Seed," the speaker captures a sense of effortless simplicity in his
profound connection with the earth during springtime. He becomes so engrossed
in this pure passion that he even forgets about basic human concerns like
supper. In the realm of nature, one may find oneself engaged in a physical
battle for survival, much like Meserve in Snow or the speakers in Storm Fear,
Empty Threat, and A Leaf Treader. However, on a psychic and emotional level, nature
provides a great deal of tranquility and offers a form of ideal simplification.
A deeper understanding of life
The poetry of Frost emphasizes the enduring
vitality of nature. However, similar to Tennyson's Nature, it doesn't seem to
pay much attention to individual lives. It is important to consider the bigger
picture and not overly focus on one individual's life, as this goes against the
natural order of things. The woman's sorrow for her child in Home Burial
confuses her uncomplicated, down-to-earth husband, who views it as excessive
and thus hardly natural.
Don't
carry it to someone else this time.
Tell
me about it if it's something human.
Let
me feel your grief. I'm not so much.
Unlike
other folks, you're standing there.
Apart
would make me out. Give me my chance.
I
do think, though, you overdo it a little.
What
was it that brought you up to think it was the thing?
To
take your mother's loss of a first child
So
inconsolably—in the face of love.
You'd
think his memory might be satisfied."
The woman's resignation in A Servant to Servants
may stem from a similar perception. In Frost's work, speakers gain
self-awareness through their exploration of nature, while nature remains
unaffected by the human realm. Put simply, individuals acquire wisdom from observing
nature, as it prompts self-discovery and encourages the pursuit of fresh
perspectives. However, nature alone does not offer definitive solutions.
To fully understand Robert Frost as a poet of
nature, it is essential to consider the insights of critic George Nitche.
Nitche categorizes poets into two broad groups that can be reasonably labeled
as "poets of nature." One perspective is that of the nature lover,
who finds beauty in the green trees, melodious birds, and furry rabbits and
expresses these observations through poetry. W. H. Davies served as an
illustration. Alternatively, there is the poet who finds deep meaning in the
natural world, whether through deliberate exploration or through its subtle
influence on their work. Lucretius, Wordsworth, and Thomas Hardy exemplify this
category.
Robert Frost doesn't prioritize creating a
philosophically consistent concept of nature. Although nature holds
significance for him, he doesn't focus on it as a subject of philosophical
contemplation or something to be conceptualized. His fascination lies in observing
how people interact with the natural world, navigating a realm that they did
not create. His poems beautifully capture the essence of nature through
depictions of majestic mountains, flowing brooks, serene woodlots, picturesque
pastures, and small farms. We don't have to describe our relationship with them
using complex philosophical language. Frost's perspective on nature holds a
significant ethical or metaphysical dimension that is of great importance.
However, Frost does not provide a straightforward explanation of principles in
this regard. He presents a mask of skeptical or whimsical ambiguity instead. It
appears that he has a lack of confidence in theory. He often refrains from
making direct statements about a theory of nature or man's connection with
nature. Meanwhile, he believes that going against nature or natural processes
is a major mistake on the part of humans.
Refrences
Baym, N. (1965). An approach to Robert Frost's nature poetry. American Quarterly, 17(4), 713-723.