A Literary Life Reconsidered. In one sense you create it, and in another sense you find it. He was careful To put a tree between us when he lighted, And say no word to tell me who he was Who was so foolish as to think what he thought.
The speaker would be as indifferent as the bird, as indifferent as the woodchopper, and indifferent to the woodpile itself as its purpose and design collapse into the swampy chaos of biological interpenetration and transformation.
Whatever triumph there is lies in the fact that homelessness has now been defined and formalized by intelligence and love, by the process of growing awareness by which the woodpile and the poem have simultaneously come to be. Hinting as it Analysis wood pile at a sweeping geological sense of time and age, it provides another, prehistoric tension with the fragile minuteness and ephemerality of the mere "one gray day.
The poem has a hesitant start: Frost was himself fascinated by what he called "carrying numbers into the realm of space and at the same time into the realm of time" The wood was gray and the bark warping off it And the pile somewhat sunken. With a reflection about whoever it was who left it there, "far from a useful fireplace," the poem concludes.
Lines 1through 10 set the scene. Only such a man alone could have forgotten the product of his own hand.
But the narrator's attention to the white feather in the bird's tail suggests that the bird may well indeed have something to fear; the narrator's attention to it betrays his lack of indifference to an unusual trophy, a thing of beauty, that he might want to capture or possess not unlike the narrator seeking the trophy nest in "The White-Tailed Hornet".
He is on the point of being obliterated by the landscape, rather than allowed to exist even as an observer of it, much less a mediating or transcending presence.
Whereas the physical journey moves forward in space, its ultimate outcome is an inward journey, a meditation, which is a heightened mode of "turning back from here," an action no longer informed by fear alone. It is at once, like so much of Hawthorne's work, an exploration into the wilderness and into the self, a journey at once out and in.
But something urges him to go farther, deeper, to become thoroughly lost. More interesting than anything it "says" is the way the presentation resists, as solidly as does the sunken woodpile, our readerly efforts to find a message in it, to take it as a symbol for something or other important.
He still needs to find some human resemblances, evidences in zones and demarcations for the human capacity to make a claim on an alien landscape. While in one sense, then, the speaker only "reveals" and "discovers" the woodpile, in another he can be said to have "made" it. Posted by Janis at. It is decaying there slowly and without smoke.
And since it is the "we" who shall see, what is to be discovered will be informed by both. But the explicit oppositions and tensions persist: The speaker responds immediately by recognizing it as a dramatic projection of his own fearfulness.
He thought that I was after him for a feather— The white one in his tail; like one who takes Everything said as personal to himself. There is a ruefulness in his recognition that he is "far from home": But the traveler before him had made his movement easy here and there.
He went behind it to make his laststand. And the parodistic possibility is increased by the syntax of the lines about the bird's tail-feathers. Even if it is dead, the wood still has a purpose. A small bird flew before me.
It generated thought and feeling in him. If this is a situation that resembles winter visions of Stevens, the sound resists any effort to bring visionary possibilities into being.
The woodpile and the loving vision it induces only momentarily stay the confusion of a universe moving toward nothingness. In its four-by-four-by-eightness there is a marvelous solidity as well as form, a substantiality that makes it not only palpable but, at least initially, permanent.
So the woodpile is sort of a life nest.
Flowers are growing around it. He considers going back but decides to continue.J. Donald Crowley "The Wood-Pile" is thoroughly typical of many of Frost's mature nature poems. At once narrative and dramatic, the poem seems astonishingly clear. Dec 07, · The Wood Pile is very incongruous in a bleak setting, yet the idea of "warm the frozen swamp" is a futile task.
It's so far away from a "useful fireplace" too, further emphasising the bewilderment and wonder of the speaker as.
Analysis of the Wood Pile. Topics: Madrid Metro, Norwegian Wood Analysis Rory Say “Norwegian Wood” first appeared on The Beatles’ sixth full length album, Rubber Soul, which was released December 3rd, Not only is the song unique in the context of the album, but it is an example of one of The Beatles’ more experimental tracks.
Timber Pile Design and Construction Manual Table of Contents Introduction Scope of Manual Background Static Analysis Design Procedures Introduction Soil/Pile Interaction Today wood piles are a mainstay of foundation designers. Wood piles are being routinely used. The Wood Pile by Robert Frost: Summary and Analysis The Wood Pile appeared in 'North of Boston'.
It is written in blank verse. In it the poet keeps close to his experience and states what he. Analysis of ”The Wood Pile” by Robert Frost Essay Sample. Robert Frost’s poem, “The Wood-Pile”, focuses on a man who adventures himself in a frozen swamp.Download