desert places robert frost sparknotes

And those triple masculine rhymes of "fast" / "past" / "last, " with their monosyllabic stress repeated again in "theirs" / "lairs" / "awares," are like the slowing of the heartbeat in the withdrawn hibernators. .understands that he "scare[s himself] with [his] own desert places"--that the desert places belong peculiarly to him because they are projections of the self. Is it snow? The poem restores him to himself, equips him with a sense of who and where he is, defined positively this time, in relation to nature and to the objects to which he will give meaning poetically. If you are at an office or shared network, you can ask the network administrator to run a scan across the network looking for misconfigured or infected devices. It would be facing a desert. In Robert Frost’s poem, “Desert Places”, Frost creates a winter setting that reflects the narrator’s own sense of loneliness and insignificance of individual lives. this write is so unique it speaks of the real terrors of the unkown..fabulous! And what is "it" that the woods have? However these lines may incline toward patness, whatever risk they run of making the speaker seem to congratulate himself too easily as an initiate of darkness, superior to the deluded common crowd, whatever trace they contain of knowingness that mars other poems by Frost, they still succeed convincingly. It sounds to me like the guy is describing being lost in the woods. It is obvious that Robert Frost apparently gives accountability how situations can influence our emotional state of mind and gives realization that his view is the way of his creativity. The consolations of being "too absent-spirited to count" are disallowed and the poem suddenly blinks itself out of reverie into vision. It is not only the snow falling, but the night too, and speed is referenced - it is happening quickly. The tune is not in the tree; the tune of nothingness is not in the snow. New York: Farrar, Strauss & Giroux, 1996. . .. :). 1396 Words 6 Pages. But in the next eight lines we go through the nature barrier, as it were, into the ether of symbolic knowledge. With Frost, its effect is surely known, like a cold air that steals across a face; but until the lines are deliberately dwelt upon a moment like this, we do not even think of it as an "effect," and the means that produce it remain as unshowy as the grain in the wood: And the ground almost covered smooth in snow. Gucci gang, Gucci gang, Gucci gang (Gucci gang!) The field has been transformed from a positively defined entity into a thing which exists only in relation to exterior fixities, by the agency of the snow. He participates as he yields the snowy field to the woods, envies the animals in their protective burrows, and feels so absent that he does not even count as part of the scene. Completing the CAPTCHA proves you are a human and gives you temporary access to the web property. But if the intrusion into the poem of prosaic astronomers seems unduly reductive of Frost's intended ambiguity, it might be more appropriate to take "they" to mean nature itself, pluralistically figured, since nature has been felt throughout the poem as a collection of material objects. Suggestions Use up and down arrows to review and enter to select. This annihilation is figured as death, the ultimate weight of which in cosmic fashion smothers all life, leaving the poet alone in a dead universe, touched, himself, by the death that smothers. . Like the snow and the night, the weeds and stubble set up crosscurrents of meaning. I have it in me so much nearer home  . He goes rapidly past a field, awed by the swift descent of snow and night and disheartened by the smooth white cover over the last traces of vegetation, which presents a temptation to yield, as does much else in the scene, for everything seems gathered in. That same whiteness—snow or loneliness—is what makes desert of a field, helps the woods to "have" the fields in that it obliterates clear boundaries between field and woods, raising, as it does in "Stopping by Woods," the dangerous prospect of boundarilessness. The "nearer home," where the speaker has successfully faced such terrors, is the inner self, as in the phrase to strike home; its "desert places" are moral and spiritual wildernesses. from "A Study of Frost's 'Desert Places.'" This implied assertion, in turn, gives final development to a major theme of the poem—that of location. Between stars - on stars where no human race is. The figure in "Desert Places,". The vowels divest themselves of their comfortable roundness, the rhymes go slender first and then go feminine: "loneliness" / "less" / "express"; "spaces" / "race is" / "places." Copyright © 1973 by University Press of Mississippi. Semantically, the difference is related to two conflicting needs: going, doing, rushing to compete and simply being. What Frost realizes at the beginning of the last stanza is that nature's empty spaces are truly empty—not only of matter, but of meaning and that it is only meaning that can scare. The first two lines, as Reuben Brower has pointed out, achieve a "Poe-like melancholy," though perhaps by equally Poe-like mechanisms—the use of the archaic "ere" and the mournful reiteration of the word "lonely."

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