Frost
Frost
1) The discursive blank-verse meditation “Birches” does not, like “The Wood-Pile” and “An Encounter,” center on a continuously encountered and revealing nature scene; rather, it builds a mosaic of thoughts from fragments of memory and fantasy. Its vividness and genial, bittersweet speculation help make it one of Frosts most popular poems, and because its shifts of metaphor and tone invite varying interpretation it has also received much critical discussion, not always admiring. The poem moves back and forth between two visual perspectives: birch trees as bent by boys playful swinging and by ice storms, the thematic interweaving being somewhat puzzling. The birches bent “across the lines of straighter darker trees” subtly introduce the theme of imagination and will opposing darker realities. Then, almost a third of the poem describes how ice storms bend these trees permanently, unlike the action of boys; this scene combines images of beauty and of distortion. Ice shells suggest radiating light and color, and the trees bowed to the level of the bracken, suggest suffering, which is immediately lightened by the strange image of girls leaning their hair toward the sun as if in happy submission.
The fallen “inner dome of heaven” alludes to Shelleys “dome of many colored glass” (also alluded to in “The Trial By Existence”) to suggest the shattering of the ideal into everyday reality. Frosts speaker then self-consciously breaks from his realistic but metaphorically fantasied digression to say he would prefer to have some boy bend the birches, which action becomes a symbol for controlled experience, as contrasted with the genial fatality of ice storms. The boys fancied playfulness substitutes for unavailable companionship, making for a thoughtful communion with nature, which rather than teach him wisdom allows him to learn it. Despite the insistence on the difference between ice storms permanent damage to birches and a boys temporary effects, the boy subdues and conquers the trees. His swinging is practice for maintaining lifes difficult and precarious balances.
The third part of the poem begins with a more personal and philosophical tone. The speaker claims to have been such a youthful swinger of birches, an activity he can go back to only by dreaming. The birch trees, probably both ice-bent and boy-swung, stand for the order and control missing from ordinary experience. The “considerations” he is weary of are conflicting claims that leave him disoriented and stung. The desire to “get away from earth,” importantly qualified by “awhile,” shows a yearning for the ideal or perhaps for the imaginative isolation