Imaginative Journeys
The Imaginative Journey is one that is intangible, and remains un-bounded to the realms of the physical world by means of; time, reality and consciousness. It provides the ability to those who undertake such a journey, to consider and thus in some instances comprehend, the cognitive processes of their inner psyche. The poems; “Frost at Midnight”, and “This Lime-Tree Bower my Prison” by Samuel Taylor Coleridge encompass such aspects of the imaginative journey. This is enabled as Coleridge endows the reader with an account of his personal experiences that have at the outset restricted him, but rather as he comes to terms with his predicament he is able to surmount these dilemmas. The children’s novel Tom’s Midnight Garden by Philippa Pearce, also portrays various aspects of the notion of an imaginative journey, which are expressed by the means of dreams within which we are free but whilst awake remain oppressed. Finally the short film A-Z directed by Zenon Kohler, shown in the “2007 Sony Trop-fest finalist CD” renders to the viewer a satirical, example of the inner psyche working defiantly against logic, when in reality it is presented with obstacles and choices.
“Frost at Midnight” is the imaginative journey of Coleridge, as he is left alone with his child under the mystical effects of the frost which “performs its secret ministry.” He is catalysed by the placidity of the milieu, to envisage his childhood through the eye’s of his baby. By doing so he relives some joyous moments of his childhood, whilst also foreseeing some of the delights that were to follow his child’s upbringing. The tone of the poem initially is serine with “The inmates of my cottage, all at rest…My cradled infant slumbers peacefully” giving the reader a perception of absolute silence with correspondence to the effects of the frost, drawing upon sentiments of serenity. The poem soon evolves into Coleridge reliving his childhood with memories such as “how oft, at school…Of my sweet birth-place, and the old church-tower” bringing upon the proposition of Coleridge’s youth, allows readers to emote with his childhood, and take on the journey with him to the surroundings with which he was raised. Coleridge continues to give memories of his youth, with vivid illustrations of his curious nature “Presageful, have I gazed upon the bars…so sweetly that they stirred and haunted me, with a wild pleasure falling on mine ear…For still I hoped to see the stranger’s face.
In “We Grow Accustomed to the Dark” and “Acquainted with the Night” the darkness or night is the most prominent topic throughout the poems but have different meanings. While both poets address this topic in their poems, Dickinson transitions from an attitude of nerves to one of inspiration, while Frost turns to the night as a getaway from harsh society. The night is used in both as negative symbol. The use of imagery and structure are very important to help get the message of darkness across to the readers. Even though the authors have a similar theme, Frost is specific and to the point, while Dickinson’s makes her poetry more broad and can relate to a variety of readers.
In the poem “Acquainted with the Night” by Robert Frost, the Romantic poet explores the idea of humanity through nature. This sonnet holds a conversational tone with a depressing mood as the man walks in the dark city trying to gain knowledge about his “inner self”. The narrator takes a stroll at night to embrace the natural world but ignores the society around him. His walk allows him to explore his relationship with nature and civilization. In “Acquainted with the Night”, the narrator emphasizes his isolation from the society by stating his connectivity with the natural world.
Frost uses different stylistic devices throughout this poem. He is very descriptive using things such as imagery and personification to express his intentions in the poem. Frost uses imagery when he describes the setting of the place. He tells his readers the boy is standing outside by describing the visible mountain ranges and sets the time of day by saying that the sun is setting. Frost gives his readers an image of the boy feeling pain by using contradicting words such as "rueful" and "laugh" and by using powerful words such as "outcry". He also describes the blood coming from the boy's hand as life that is spilling. To show how the boy is dying, Frost gives his readers an image of the boy breathing shallowly by saying that he is puffing his lips out with his breath.
Frost's poem addresses the tragic transitory nature of living things; from the moment of conception, we are ever-striding towards death. Frost offers no remedy for the universal illness of aging; no solution to the fact that the glory of youth lasts only a moment. He merely commits to writing a deliberation of what he understands to be a reality, however tragic. The affliction of dissatisfaction that Frost suffers from cannot be treated in any tangible way. Frost's response is to refuse to silently buckle to the seemingly sadistic ways of the world. He attacks the culprit of aging the only way one can attack the enigmatic forces of the universe, by naming it as the tragedy that it is.
A physical journey occurs as a direct result of travelling from one place to another over land, sea or even space. The physical journey can occur individually or collectively, but always involves more than mere movement. Instead physical journeys are accompanied by inner growth and development, catalysed by the experiences and the decisions that impact the outcome of the journey. These journey concepts and the interrelationship between physical and emotional journeys is exemplified in the text; The Adventures of Huckleberry Finn by Mark Twain, The Road Not Taken by Robert Frost, the children’s book Lost and Found by Oliver Jeffers and the film Stand By Me directed by Rob Reiner.
In his narrative poem, Frost starts a tense conversation between the man and the wife whose first child had died recently. Not only is there dissonance between the couple,but also a major communication conflict between the husband and the wife. As the poem opens, the wife is standing at the top of a staircase looking at her child’s grave through the window. Her husband is at the bottom of the stairs (“He saw her from the bottom of the stairs” l.1), and he does not understand what she is looking at or why she has suddenly become so distressed. The wife resents her husband’s obliviousness and attempts to leave the house. The husband begs her to stay and talk to him about what she feels. Husband does not understand why the wife is angry with him for manifesting his grief in a different way. Inconsolable, the wife lashes out at him, convinced of his indifference toward their dead child. The husband accepts her anger, but the separation between them remains. The wife leaves the house as husband angrily threatens to drag her back by force.
...fall of snow and the unremitting “sweep” of “easy wind” appear tragically indifferent to life, in turn stressing the value of Poirier’s assessment of the poem. Frost uses metaphor in a way that gives meaning to simple actions, perhaps exploring his own insecurities before nature by setting the poem amongst a tempest of “dark” sentiments. Like a metaphor for the workings of the human mind, the pull between the “promises” the traveller should keep and the lure of death remains palpably relevant to modern life. The multitudes of readings opened up through the ambiguity of metaphor allows for a setting of pronounced liminality; between life and death, “night and day, storm and heath, nature and culture, individual and group, freedom and responsibility,” Frost challenges his readers to delve deep into the subtlety of tone and come to a very personal conclusion.
Frost’s sentence structure is long and complicated. Many meanings of his poems are not revealed to the reader through first glance, but only after close introspection of the poem. The true meanings contained in Frost’s poems, are usually lessons on life. Frost uses symbolism of nature and incorporates that symbolism into everyday life situations. The speaker in the poems vary, in the poem “The Pasture”, Frost seems to be directly involved in the poem, where as in the poem “While in the Rose Pogonias”, he is a detached observer, viewing and talking about the world’s beauty. Subsequently, the author transfers that beauty over to the beauty of experiences that are achieved through everyday life.
strengthens his viewpoint and regards Frost as ―one of the most intuitive poets [. . . h]e sees
The vivid imagery, symbolism, metaphors make his poetry elusive, through these elements Frost is able to give nature its dark side. It is these elements that must be analyzed to discover the hidden dark meaning within Roberts Frost’s poems. Lines that seemed simple at first become more complex after the reader analyzes the poem using elements of poetry. For example, in the poem Mending Wall it appears that Robert frost is talking about two man arguing about a wall but at a closer look the reader realizes that the poem is about the things that separate man from man, which can be viewed as destructive. In After Apple Picking, the darkness of nature is present through the man wanting sleep, which is symbolic of death. It might seem that the poem is about apple picking and hard work but it is actually about the nature of death.
'Frost at Midnight' is generally regarded as the greatest of Samuel Taylor Coleridge's 'Conversation Poems' and is said to have influenced Wordsworth's pivotal work, 'Lines Composed a Few Miles Above Tintern Abbey'. It is therefore apposite to analyse 'Frost at Midnight' with a view to revealing how the key concerns of Romanticism were communicated through the poem.
Frost's use of detailed description in this poem is quite interesting. It helps provide the reader with a better visual image of the poem. He doesn’t go too far though as to tell the reader exactly what’s going on, he leaves the poem open to interpretation so that the reader can decide for himself what is truly going on between the neighbors. On one hand, Frost tells us specifically what is going on in the poem, the two neighbors meet together at the beg...
It can easily be argued that Frost believed that little difference existed between humanity’s inner nature and the nature of the world which surrounded him. Time and again Frost personifies nature in human terms and points out the many ways in which what happens in an individual’s life is a reflection of what is occurs in the natural world. In fact, it can be said that this poet viewed nature as being separate from humanity only by the virtue by which humanity removes itself from the outside world. In other words, nature never leaves, humans are the ones to leave nature. Many of Frost’s poem clearly demonstrate the ways in which the peace of being fully juxtaposed to nature when a human steps outside their rigid human realm and learn to appreciate their natural surroundings.
Moreover, these various fragments all combine to instill a sense of ambiguity throughout the poem. In a sense, as the poem progresses, the audience discovers further and more troublesome questions regarding its message and its implications. The audience, perhaps, even begins to wonder if there are indeed absolute answers or whether Coleridge consciously intended to create an unresolved poem. Amid this unsettling tumult of questions, one is left to dedicatedly follow Coleridge’s journey in a sequential manner in an attempt to consider and ponder these ambiguities as they arise. Inevitably, however, lingering questions will ...
with the alliteration of the frst five lines : "Kubla Khan'', ''dome decree'', and ''sunless sea''. Coleridge interlaces short exclamations (''but oh!'', ''a savage place!'') and exageratedly long exclamations (''as holy and enchanted as e'er beneath a waning moon was haunted by a woman wailing for her demon lover!'') reinforces the feeling of flowing which is related to the time ''ticking'' irregularly away, creating a sense of timelessness.