Birches (poem)

Last updated
Birches
by Robert Frost
First published in The Atlantic Monthly
CountryUnited States
LanguageEnglish
Publication dateAugust 1915
Media typeMagazine
Full text
Wikisource-logo.svg Birches at Wikisource

"Birches" is a poem by American poet Robert Frost. First published in the August 1915 issue of The Atlantic Monthly together with "The Road Not Taken" and "The Sound of Trees" as "A Group of Poems". It was included in Frost's third collection of poetry Mountain Interval , which was published in 1916.

Contents

Consisting of 59 lines, it is one of Robert Frost's most anthologized poems. Along with other poems that deal with rural landscape and wildlife, it shows Frost as a nature poet. [1]

Text

When I see birches bend to left and right
Across the lines of straighter darker trees,
I like to think some boy's been swinging them.
But swinging doesn't bend them down to stay
As ice-storms do. Often you must have seen them
Loaded with ice a sunny winter morning
After a rain. They click upon themselves
As the breeze rises, and turn many-colored
As the stir cracks and crazes their enamel
Soon the sun's warmth makes them shed crystal shells
Shattering and avalanching on the snow-crust —
Such heaps of broken glass to sweep away
You'd think the inner dome of heaven had fallen.
They are dragged to the withered bracken by the load,
And they seem not to break; though once they are bowed
So low for long, they never right themselves:
You may see their trunks arching in the woods
Years afterwards, trailing their leaves on the ground
Like girls on hands and knees that throw their hair
Before them over their heads to dry in the sun.
But I was going to say when Truth broke in
With all her matter-of-fact about the ice-storm
I should prefer to have some boy bend them
As he went out and in to fetch the cows —
Some boy too far from town to learn baseball,
Whose only play was what he found himself,
Summer or winter, and could play alone.
One by one he subdued his father's trees
By riding them down over and over again
Until he took the stiffness out of them,
And not one but hung limp, not one was left
For him to conquer. He learned all there was
To learn about not launching out too soon
And so not carrying the tree away
Clear to the ground. He always kept his poise
To the top branches, climbing carefully
With the same pains you use to fill a cup
Up to the brim, and even above the brim.
Then he flung outward, feet first, with a swish,
Kicking his way down through the air to the ground.
So was I once myself a swinger of birches.
And so I dream of going back to be.
It's when I'm weary of considerations,
And life is too much like a pathless wood
Where your face burns and tickles with the cobwebs
Broken across it, and one eye is weeping
From a twig's having my lashed opened.
I'd like to get away from earth awhile
And then come back to it and begin over.
May no fate willfully misunderstand me
And half grant what I wish and snatch me away
Not to return. Earth's the right place for love:
I don't know where it's likely to go better.
I'd like to go by climbing a birch tree,
And climb black branches up a snow-white trunk
Toward heaven, till the tree could bear no more,
But dipped its top and set me down again.
That would be good both going and coming back.
One could do worse than be a swinger of birches.

Summary

When the speaker (the poet himself) sees a row of bent birches in contrast to straight trees, he likes to think that some boy has been swinging them. He then realizes that it was not a boy, rather an ice storm that had bent the birches. On a winter morning, freezing rain covers the branches with ice, which then cracks and falls to the snow-covered ground. The sunlight refracts on the ice crystals, making a brilliant display.

When the truth strikes the speaker, he still prefers his imagination of a boy swinging and bending the birches. The speaker says he also was a swinger of birches when he was a boy and wishes to be so now. When he becomes weary of this world, and life becomes confused, he would like to go toward heaven by climbing a birch tree and then coming back again, because earth is the right place for love.

Analysis

This poem is written in blank verse, with a particular emphasis on the "sound of sense". For example, when Frost describes the cracking of the ice on the branches, his selections of syllables create a visceral sense of the action taking place: "Soon the sun's warmth makes them shed crystal shells / Shattering and avalanching on the snow crust — / Such heaps of broken glass to sweep away..."

Originally, this poem was called "Swinging Birches", a title that perhaps provides a more accurate depiction of the subject. In writing this poem, Frost was inspired by his childhood experience with swinging on birches, which was a popular game for children in rural areas of New England during the time. Frost's own children were avid "birch swingers", as demonstrated by a selection from his daughter Lesley's journal: "On the way home, i climbed up a high birch and came down with it and I stopped in the air about three feet and pap cout me."

In the poem, the act of swinging on birches is presented as a way to escape the hard rationality or "Truth" of the adult world, if only for a moment. As the boy climbs up the tree, he is climbing toward "heaven" and a place where his imagination can be free. The narrator explains that climbing a birch is an opportunity to "get away from earth awhile / And then come back to it and begin over." A swinger is still grounded in the earth through the roots of the tree as he climbs, but he is able to reach beyond his normal life on the earth and reach for a higher plane of existence.

Frost highlights the narrator's regret that he can no longer find this peace of mind from swinging on birches. Because he is an adult, he is unable to leave his responsibilities behind and climb toward heaven until he can start fresh on the earth. In fact, the narrator is not even able to enjoy the imagined view of a boy swinging in the birches. In the fourth line of the poem, he is forced to acknowledge the "Truth" of the birches: the bends are caused by winter storms, not by a boy swinging on them.

Significantly, the narrator's desire to escape from the rational world is inconclusive. He wants to escape as a boy climbing toward heaven, but he also wants to return to the earth: both "going and coming back". The freedom of imagination is appealing and wondrous, but the narrator still cannot avoid returning to "Truth" and his responsibilities on the ground; the escape is only a temporary one. The poem is full of ambiguity and it has got a very aesthetic sense to it.

Overview

Written in conversational language, the poem constantly moves between imagination and fact, from reverie to reflection. In the opening, the speaker employs an explanation for how the birch trees were bent. He is pleased to think that some boys were swinging them when he is suddenly reminded that it is actually the ice-storm that bends the trees. Thus, the poem makes some shift of thought in its description. An abrupt shift occurs when the speaker yearns to leave this earth because of its confusion and make a heaven-ward journey. But the speaker does not want to die by leaving earth forever. He wants to come back to this earth, because to the speaker, the earth is, though not perfect, a better place for going on. The speaker is not one who is ready to wait for the promise of afterlife. The love expressed here is for life and himself. This shows Frost's agnostic side where heaven is a fragile concept to him. [2] This becomes clear when he says, "the inner dome of heaven had fallen."

Rich metaphoric thinking and imagery abound in the poem, where Frost presents some sharp descriptions of natural phenomena. [3]

Form

The poem is written in blank verse. The language is conversational (use of first person "I" and second person "You".) [4]

Related Research Articles

<i>Kubla Khan</i> Poem by Samuel Taylor Coleridge

Kubla Khan: or A Vision in a Dream is a poem written by Samuel Taylor Coleridge, completed in 1797 and published in 1816. It is sometimes given the subtitles "A Vision in a Dream" and "A Fragment." According to Coleridge's preface to Kubla Khan, the poem was composed one night after he experienced an opium-influenced dream after reading a work describing Shangdu, the summer capital of the Mongol-led Yuan dynasty of China founded by Kublai Khan. Upon waking, he set about writing lines of poetry that came to him from the dream until he was interrupted by "a person on business from Porlock". The poem could not be completed according to its original 200–300 line plan as the interruption caused him to forget the lines. He left it unpublished and kept it for private readings for his friends until 1816 when, at the prompting of Lord Byron, it was published.

<span class="mw-page-title-main">Robert Frost</span> American poet (1874–1963)

Robert Lee Frost was an American poet. His work was initially published in England before it was published in the United States. Known for his realistic depictions of rural life and his command of American colloquial speech, Frost frequently wrote about settings from rural life in New England in the early 20th century, using them to examine complex social and philosophical themes.

<i>The Great Divorce</i> 1945 novel by C. S. Lewis

The Great Divorce is a novel by the British author C. S. Lewis, published in 1945, based on a theological dream vision of his in which he reflects on the Christian conceptions of Heaven and Hell.

<span class="mw-page-title-main">Yggdrasil</span> Immense tree in Norse cosmology

Yggdrasil is an immense and central sacred tree in Norse cosmology. Around it exists all else, including the Nine Worlds.

<span class="mw-page-title-main">Birch</span> Genus of flowering plants in the family Betulaceae

A birch is a thin-leaved deciduous hardwood tree of the genus Betula, in the family Betulaceae, which also includes alders, hazels, and hornbeams. It is closely related to the beech-oak family Fagaceae. The genus Betula contains 30 to 60 known taxa of which 11 are on the IUCN 2011 Red List of Threatened Species. They are a typically rather short-lived pioneer species widespread in the Northern Hemisphere, particularly in northern areas of temperate climates and in boreal climates. Birch wood, the wood of the birch, is used for a wide range of purposes.

<span class="mw-page-title-main">Wallace Stevens</span> American poet (1879–1955)

Wallace Stevens was an American modernist poet. He was born in Reading, Pennsylvania, educated at Harvard and then New York Law School, and spent most of his life working as an executive for an insurance company in Hartford, Connecticut. He won the Pulitzer Prize for Poetry for his Collected Poems in 1955.

<span class="mw-page-title-main">Swing (seat)</span> Seat suspended from chains or ropes allowing occupant to swing

A swing is a seat, often found at playgrounds for children, at a circus for acrobats, or on a porch for relaxing, although they may also be items of indoor furniture, such as the Latin American hammock or the Indian oonjal. The seat of a swing may be suspended from chains or ropes. Once a swing is in motion, it continues to oscillate like a pendulum until external interference or drag brings it to a halt. Swing sets are very popular with children.

<span class="mw-page-title-main">Hymn to Intellectual Beauty</span>

"Hymn to Intellectual Beauty" is a poem written by Percy Bysshe Shelley in 1816 and published in 1817.

<i>Where the Sidewalk Ends</i> Poetry collection by Shel Silverstein

Where the Sidewalk Ends is a 1974 children's poetry collection written and illustrated by Shel Silverstein. It was published by Harper and Row Publishers. The book's poems address common childhood concerns and also present fanciful stories and imaginative images. Silverstein's work is valued by people of all ages, primarily due to his skill in subtly communicating social implications through his simple language. Controversial because of profanity and theme of rebellion, the book was first banned in 1986 in many libraries and schools.

<span class="mw-page-title-main">Ode: Intimations of Immortality</span> Poem by William Wordsworth

"Ode: Intimations of Immortality from Recollections of Early Childhood" is a poem by William Wordsworth, completed in 1804 and published in Poems, in Two Volumes (1807). The poem was completed in two parts, with the first four stanzas written among a series of poems composed in 1802 about childhood. The first part of the poem was completed on 27 March 1802 and a copy was provided to Wordsworth's friend and fellow poet, Samuel Taylor Coleridge, who responded with his own poem, "Dejection: An Ode", in April. The fourth stanza of the ode ends with a question, and Wordsworth was finally able to answer it with seven additional stanzas completed in early 1804. It was first printed as "Ode" in 1807, and it was not until 1815 that it was edited and reworked to the version that is currently known, "Ode: Intimations of Immortality".

<i>Mont Blanc</i> (poem) Ode by Percy Shelley

Mont Blanc: Lines Written in the Vale of Chamouni is an ode by the Romantic poet Percy Bysshe Shelley. The poem was composed between 22 July and 29 August 1816 during Shelley's journey to the Chamonix Valley, and intended to reflect the scenery through which he travelled. "Mont Blanc" was first published in 1817 in Percy Shelley and Mary Shelley's History of a Six Weeks' Tour through a Part of France, Switzerland, Germany and Holland, which some scholars believe to use "Mont Blanc" as its culmination.

Religious Musings was composed by Samuel Taylor Coleridge in 1794 and finished by 1796. It is one of his first poems of critical merit and contains many of his early feelings about religion and politics.

<span class="mw-page-title-main">Conversation poems</span> Poems composed by Samuel Taylor Coleridge

The conversation poems are a group of at least eight poems composed by Samuel Taylor Coleridge (1772–1834) between 1795 and 1807. Each details a particular life experience which led to the poet's examination of nature and the role of poetry. They describe virtuous conduct and man's obligation to God, nature and society, and ask as if there is a place for simple appreciation of nature without having to actively dedicate one's life to altruism.

"This Lime-Tree Bower My Prison" is a poem written by Samuel Taylor Coleridge during 1797. The poem discusses a time in which Coleridge was forced to stay beneath a lime tree while his friends were able to enjoy the countryside. Within the poem, Coleridge is able to connect to his friend's experience and enjoy nature through him, making the lime tree only a physical prison, not a mental one.

Frost at Midnight is a poem by Samuel Taylor Coleridge, written in February 1798. Part of the conversation poems, the poem discusses Coleridge's childhood experience in a negative manner and emphasizes the need to be raised in the countryside. The poem expresses hope that Coleridge's son, Hartley, would be able to experience a childhood that his father could not and become a true "child of nature". The view of nature within the poem has a strong Christian element in that Coleridge believed that nature represents a physical presence of God's word and that the poem is steeped in Coleridge's understanding of Neoplatonism. Frost at Midnight has been well received by critics, and is seen as the best of the conversation poems.

"Night" is a poem in the illuminated 1789 collection Songs of Innocence by William Blake, later incorporated into the larger compilation Songs of Innocence and of Experience. "Night" speaks about the coming of evil when darkness arrives, as angels protect and keep the sheep from the impending dangers.

"After Apple-Picking" is a poem by American poet Robert Frost. It was published in 1914 in North of Boston, Frost's second poetry collection. The poem, 42 lines in length, does not strictly follow a particular form, nor does it follow a standard rhyme scheme.

<span class="mw-page-title-main">The School Boy</span> Poem by William Blake

"The School Boy" is a 1789 poem by William Blake and published as a part of his poetry collection entitled Songs of Experience. These poems were later added with Blake's Songs of Innocence to create the entire collection entitled "Songs of Innocence and of Experience Shewing the Two Contrary States of the Human Soul". This collection included poems such as "The Tyger", "The Little Boy Lost", "Infant Joy" and "The Shepherd". These poems are illustrated with colorful artwork created by Blake first in 1789. The first printing in 1789 consisted of sixteen copies. None of the copies of Songs of Innocence are exactly alike as some of them are incomplete or were colored in posthumously "in imitation of" other copies.

<i>Fifine at the Fair</i> Poem by Robert Browning, published in 1872

Fifine at the Fair is a poem in Alexandrine couplets by Robert Browning, published in 1872.

References

  1. Lynen, John F (2009). Bloom, Harold (ed.). Robert Frost. Infobase Publishing. p. 38. ISBN   9781438115832.
  2. Deirdre J. Fagan (2007), p. 43
  3. The Robert Frost Encyclopedia
  4. "Frost's Early Poems". SparkNotes LLC. Retrieved 8 November 2013.