Comparing the Voice of Frost in Mending Wall, After Apple-Picking, and

The Voice of Frost in stamping ground Wall, After Apple-Picking, and The Wood-Pile The persona narratives from the book - Mending Wall, After Apple-Picking, and The Wood-Pile - also stress for inclusiveness although they ar spoken throughout by a voice we are tempted to call Frost. This voice has no particular back-country identity, nor is it obsessed or limit in its point of view it put single acrossms rather to be exploring nature, other people, ideas, shipway of saying things, for the sheer entertainment they can provide. Unlike poems such as Home Burial and A Servant to Servants, which are inclined toward the sad or the pathetic, nothing terrible happens in the personal narratives, nor does some grim secret lie behind them. In The Wood-Pile, for example, almost nothing happens at all its story, its achieved idea or wisdom, the whole air with which it carries itself, is quite unmemorable. A man out walking in a frozen submerge decides to turn back, then decides instead t o go farther and see what lead happen. He notes a bird in front of him and spends some epoch musing on what the bird must be thinking, then sees it drop down behind a pile of wood. The pile is described so as to bring out the fact that it has been around for some time. With a observation about whoever it was who left it there, far from a useful fireplace, the poem concludes. And the referee looks up from the text, wonders if he has missed something, perhaps goes back and reads it again to see if he can catch some meaning which has eluded him. But The Wood-Pile body stubbornly unyielding to any attempt at ransacking it for a meaning not evidently on the surface. This surface is a busybodied one, as when the speaker meets the bird A small bird flew be... ...essing it, when he has no audience to be bullied or flattered, when he is free, and speech takes one form and no other. Despite the presence of back-country characters and scenes in this book of people, it is as a book of s entence sounds that it most truly exists, as a triumphant vindication of the poetic theory Frost had designed, and as a monument to how much could be accomplished by trusting to the description of speech. At the end of Home Burial, the wife lashes out at her husband in exasperation You - oh, you think the let the cat out of the bag is all . . . But for the composer of these poems, the talk is all, whether that of his imagined characters or of himself speaking aloud. Works Cited Frost, Robert. Mending Wall. The Norton Anthology of American Literature.Ed. Julia Reidhead. 5th ed. 2 vols. New York Norton, 1998.Frost A Literary Life Reconsidered.