By using a structuralist analysis of Stopping by the Woods on a Snowy Evening, many interesting themes and nuances not initially noticed, arise. All of the binary oppositions in this poem produce a distinct feeling of “Nature vs. Culture”. Some of these binaries include knowing/not knowing and village/forest (full list of binary oppositions final page). The binary opposition of knowing/not knowing is of particular interest because it reveals a theme that carries throughout the poem: culture is something humans can understand, it is digital; but nature remains a mystery, it is analog. However, there are several categories that do not fit within these clear-cut binary oppositions. An anomalous category, something that straddles the line between a pair of opposite binaries, can create disruption and injure culture. In this poem in particular both “his” and “woods” are powerful anomalous categories. The other man is both in the village and the woods, because he owns these woods, which means he also straddles the line between here/there (even if only through material purchase). The fact that this man owns the forest puts him in a category of civilized/nature because he gained the land through civilization but he has not developed it “Woods” can also be seen as an obvious anomalous category because it described as both “lovely” and “dark”. It also straddles the line between queer/normal, because the woods seem strange, but they shouldn’t since they are part of a nature and something the man has most likely seen before (because he knows who owns the woods). There is also a confusion of mistake/purpose in relation to intent; the horse seems to think it was a mistake to stop here. Yet, the man stops here purposefully. Finally, the woods...
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... which tend to more objective. In addition, it is much easier to be objective because advertisements allow readers to use the ad by using the commutation test.
Overall, the biggest difference apparent in the comparison of Stopping by the Woods on a Snowy Evening and the advertisement for the Toyota 4-Runner is the subjectivity available in literary texts versus ideological texts. Ideological texts, particularly advertisements, are easier to see the major messages thanks to the implementation of the commutation test. In addition to the commutation test, there is an abundance of obvious examples of major terms of structuralism like boundary rituals, logic of the concrete, etc. But, the subjectivity and uncertainty of poems make these terms harder to discover and ration out. The inability to “test” the levels of importance in literary texts also hinders the analyzer.
...f the natural” (Abbey 6) then proceeds to personify everything around him from ravens that “croak harsh clanking sounds of smug satisfaction” (Abbey 16), to a Juniper tree that might be mad, or simply suffering “an internal effort at liberation” (Abbey 27). While Abbey explores the contradiction of man and nature merged, yet separate, McCandless frequently re-shapes his paradigm to incorporate discovery. Non-adherence to predetermined configurations allows both men to have the relationships they seek with wilderness and industrial society. We see on close inspection that what at first appears to be a contradiction is actually a purposeful non-conformity that allows each man to tailor his experience.
Many stories people read are written for the express purpose of entertainment and sometimes even to persuade, but few are written to teach a moral. The story “A Fable with Slips of White Paper Spilling From The Pockets” written by Kevin Brockmeier does just that. Although relatively short, the story is filled with words of wisdom and life lessons that are meant to instill a sense of selflessness. The story is about a man who finds God’s overcoat from which he finds prayers from the people he encounters. Kevin Brockmeier makes exceptional use of magic realism and symbolism to teach a moral lesson.
“In the darkness the fields / defend themselves with fences / in vain: / everything / is getting in” (Atwood, 28-33). The man in Margaret Atwood’s poem “Progressive Insanities of a Pioneer” is in a situation similar to the stranger in Douglas LePan’s poem “A Country Without a Mythology.” The man in Atwood’s poem as well as the stranger in LePan’s poem are both unsure of where they are. In “Progressive Insanities of a Pioneer” the man tries to separate himself from his environment; however, in “A Country Without a Mythology” the stranger tries to adapt himself to his environment. By analyzing the content, structure, and meaning of “A Country Without a Mythology” the reader will understand that if the stranger openly accepts his surroundings he will then be able to answer the question that grieves him: “where is he?”
Therefore, Oliver’s incorporation of imagery, setting, and mood to control the perspective of her own poem, as well as to further build the contrast she establishes through the speaker, serves a critical role in creating the lesson of the work. Oliver’s poem essentially gives the poet an ultimatum; either he can go to the “cave behind all that / jubilation” (10-11) produced by a waterfall to “drip with despair” (14) without disturbing the world with his misery, or, instead, he can mimic the thrush who sings its poetry from a “green branch” (15) on which the “passing foil of the water” (16) gently brushes its feathers. The contrast between these two images is quite pronounced, and the intention of such description is to persuade the audience by setting their mood towards the two poets to match that of the speaker. The most apparent difference between these two depictions is the gracelessness of the first versus the gracefulness of the second. Within the poem’s content, the setting has been skillfully intertwined with both imagery and mood to create an understanding of the two poets, whose surroundings characterize them. The poet stands alone in a cave “to cry aloud for [his] / mistakes” while the thrush shares its beautiful and lovely music with the world (1-2). As such, the overall function of these three elements within the poem is to portray the
Robert Frost engages the reader in a tension driven metaphor which relates the phenomena of natural processes to what can be regarded as the metaphysical transcendence of ones imagination though time. In this exploration, he reveals the conflict of ones volition against the natural, opposing forces. In the first three lines, the poet sees birch trees swaying in the wind, and likens the movement to young boy swinging on the branches.
It describes how the conservative farmer follows traditions blindly and the isolated life followed by him. It reflects how people overcome physical barriers and that later in life come to their social life too. Where a neighbor with a pine tree, believes that this separation is needed as it is essential for their privacy and personal life. The poem explores a paradox in human nature. The first few lines reflect demolition of the wall,?Something there is that doesn?t reflect love a wall?
The monsters that ravage the world of men are nothing without the perverted natural space they occupy. Their liminal nature, the quality which makes them monstrous, is reflected in the spaces they occupy within the landscape of the poem. These monsters are constructed by and inextricable from the landscapes which they inhabit. The landscape gives these monsters meaning. These monsters are not so much living breathing creatures, but a manifestation of Old English elemental fears in the dreamlike configuration of the narrative. Whether its Heorot, the sea, Grendel’s Fens or Grendel's mothers mere; these landscapes help define these entities in this
“Entrance to the Woods” is about a man who goes camping in the wilderness one weekend to take a needed vacation from his hectic urban lifestyle. On the trip, the narrator realizes his symbolic place in the woods, as well as the place that mankind has made in the world. He struggles with the negative effects that come from urbanization and the relentless progress for both mankind and nature. Berry’s genius lies in his use of diction to seamlessly use both the natural and activist personas, creating a stance and an image that leads the reader to his own thoughts, which have been manipulated by his perspective. While settling into the woods, his pace gets slower and he becomes aware of his surroundings. The natural world around him helps him realize that man must slow down and pay attention to the harmful effects of quick actions, such as rushing into a war or tearing up precious land for harmful coal mining. As he is able to fully stop and look around, he’s able to think clearly. The distractions of his hectic life are swallowed up by the peaceful calmness of the woods. Berry stat...
Robert Frost uses metaphor and symbolism extensively in ‘Stopping by Woods on a Snowy Evening’, developing deeper and more complex meanings from a superficially simple poem. Frost’s own analysis contributes greatly to our appreciation of the importance of metaphor, claiming that “metaphor [is] the whole of thinking,” inviting the reader to interpret the beautiful scene in a more profound way. However, the multitude of possible interpretations sees it being read as either carefully crafted lyric, a “suicide poem, [or] as recording a single autobiographical incident” . Judith Oster argues, therefore, that the social conditions individual to each reader tangibly alter our understanding of metaphor. Despite the simplicity of language, Frost uses conventional metaphors to explore complex ideas about life, death and nature. The uncertainty, even in the concluding stanza, that encompasses the poem only adds to the depth of possible readings.
In Robert Frost's "The Need of Being Versed in Country Things," the speaker provides the readers with a juxtaposition between humans and nature. In the poem, a farmhouse was burned down, yet the reactions of humans and of nature to this tragedy are completely opposite. Frost, an avid advocate of nature over society, attempts to show his readers how nature essentially triumphs over mankind through its strength, resiliency to tragedies, and resourcefulness of what seems to be broken down and beyond help. Frost uses personification, anthropomorphizing, and the idea of cycles along with the contrasting responses of nature and man to their disruption to fully convey to the readers nature's dominance over humans.
The setting takes place in the daylight of the woods. I felt that Frost set the poem in the woods because it helps reader imagine trees, leaves, and bushes. Therefore readers know that the speaker is alone without any road signs or knowledge of any direction on which road to take. The “yellow wood”(1) means that its somewhere in the fall when the leaves are changing colors. The “yellow” brings out a beautiful image of the autumn to readers. The “yellow wood” means there is a continuous decision one makes in li...
Frost's poem, "Stopping by Woods on a Snowy Evening", seems to be a simple story of a man and his horse. It portrays beautiful imagery with an enjoyable rhythm and rhyming scheme. Taking a second look at this poem may bring a more complex curiosity about what Frost is exactly trying to achieve through his words. It is apparent in the breakdown of the poem that new meanings and revelations are to be found. This is seen by relating almost all of his statements to each stanza and line. Robert Frost's aesthetic philosophy about "Stopping by Woods" gives a more penetrating view into his work.
In the first stanza of “Stopping by Woods on a Snowy Evening,” you learn that there is guy looking at the woods that are owned by some other man. “He will not see me stopping here,” shows that the other guy has no idea. (Line 3) The guy is worried that he is committing an offense by looking at the woods because he does not own them. He practically steals the look at the woods. There is alliteration in the second, third, and four lines. There is a hyperbole in the fourth line that says, “To watch his woods fill up with snow.” (Line 4) He could not possibly wait until the woods fill up with snow comp...
Robert Frost is known for his poems about nature, he writes about trees, flowers, and animals. This is a common misconception, Robert Frost is more than someone who writes a happy poem about nature. The elements of nature he uses are symbolic of something more, something darker, and something that needs close attention to be discovered. Flowers might not always represent beauty in Robert Frost’s poetry. Symbolism is present in every line of the nature’s poet’s poems. The everyday objects present in his poems provide the reader an alternative perspective of the world. Robert Frost uses all the elements of poetry to describe the darker side of nature. After analyzing the Poem Mending Wall and After Apple Picking it is clear that nature plays a dark and destructive role for Robert Frost. This dark side of Frost’s poetry could have been inspired from the hard life he lived.
The poem “I Wandered Lonely as a Cloud” by William Wordsworth is about the poet’s mental journey in nature where he remembers the daffodils that give him joy when he is lonely and bored. The poet is overwhelmed by nature’s beauty where he thought of it while lying alone on his couch. The poem shows the relationship between nature and the poet, and how nature’s motion and beauty influences the poet’s feelings and behaviors for the good. Moreover, the process that the speaker goes through is recollected that shows that he isolated from society, and is mentally in nature while he is physically lying on his couch. Therefore, William Wordsworth uses figurative language and syntax and form throughout the poem to express to the readers the peace and beauty of nature, and to symbolize the adventures that occurred in his mental journey.