Elements Of Poetry Essay

Every poet has a unique mien inwhich they construct a particular song. Some poets have a angle of inclination to stay in spite of appearance the same personal manner while others break out of the mold and write in a style of their take in. For rime,most of his serve was tranquil in an English meter however, when composing For Once, Then, Something he strayed away from his usual tendencies of writing. For Once, Then, Something (1920) is the entirely poem Robert freezing ever composed in a holyal meter it is written in phalaecean hendecasyllabics (Talbot, 2003).Hendecasyllabic is generatedfrom the time of Ancient Greece and the meaning behind the name of the meter is derived by the Greek word eleven. With each line containing 11 syllables, the hendecasyllabic offers the opportunity tomaintainthe basic Sapphic rhythm for a long period, building up momentum (Wikipedia, 2014). in that location are a number of speculations asto the reason why Frost chose to crest away from his traditional writing scheme but continued with the criticism of temperament. One thought of why Frost did not use the classic Englishmeter for this particular poem was to the effects of him imitating the Latin meter of Catullus.Frosts poem is, among other things, a response to hostile critics. Scholars of Catullus and Catullus was Frosts favorite Roman author have visored to a link mingled with hendecasyllabics and the poetic mode of rebuttal similarlynescritics (Talbot, 2003). In my view of reading the poem, it could be read in iambic pentameter.Each lineseems toend with an extra syllablewhichgives the impression of macrocosm unaccented however, it seem that iambic pentameter was not the intentions of how Frost wanted this poem to be read. Writing to a friend in1920, the year of the poems publication, roguishFrost boasted that the poem was calculated to tease the metrists, (Talbot,2003).The meaning Frost wanted toportraywasthat in which he was certainlycapable of writin g a poem with an amplevisionand of unblemished meter. 1 In writing the poem, Frost intertwined traces of virtuous Greece inside the proposition of a modern story. The speaker reveals seeing his reflection godlike / looking at out of a wreath of fern which presents as an allusion of the classicalGreek story of Ovid and his account of his own reflection (Talbot, 2003). The photograph of the fern could also be measured as a symbol of the Greek wreath.These images are a representation of the classical flavour in which Frost intend the poem to shadow. In my opinion, one of the biggest reflections to the classical aspect of Ancient Greece was that of the actual well itself and the so called truth that lies within it. Judith Oster spoke in tune of this same reflection in her prevail Toward Robert Frost The Reader and the Poet, of how the meaning of the poem may have been attributed to the avouchment of Democritus Of truth we know nothing, for truth lies at the bottom of a well (Ost er, 1991). in that respect are certainly many various opinions in which get together around the classical theme ofthe poem and the reasoning behind why Frost wrote it outside of his traditional setting. In learning more(prenominal) and more about Frost from week to week I understand his work depicts a more deep and metaphysical meaning. Others criticized Frost for not having doubtful meaning within his work simply only reflecting the beauty of nature which is the thought of most behind the poems naturalistic classic rendering.The individual kneel at the well is seemingly troubled by something of great cause. There is a sense ofuncertaintyof whether or not the answer being seek will be known as truthful.This individual is not only dealing with the troubles of uncertainly but also the subjugation of mockery from the town, fraternity or merely a group of people. The speaker indicates the troubles seem to come out from a very deep and muddied place as indicated in line three as a image of the well mirrors deeper mountain in the well than where the piddle lies (Frost, 1995). When peering in the well at the dark deep water the onlything in which the speaker sees is a reflection point towards himself Gives me back in a shining surface picture / me myself in the summer heaven godlike (Frost,1995).The semblance of a god-like face within 2 the pool of water creates the image of someone who could do no wrong, being more of a god than human. The speak is rationalizing the mockery of his image being questioned as he looks deeper into the well with his chin up against the perimeter realizing the opinion of truth perhaps can be superficial beyond the picture (Frost, 1995).However, this thought is immediately rejected when the water came to rebuke too clear water as if the speaker simply shook his chief bringing his thoughts back to the surface. Many times in our life the water so tospeak can get murkyleaving us without a clear resolution to a problem we are troub led with. As in this case, the speaker was brought back from those murky waters by the droplet from a fern. We too have those times in our lives who so called bring us back to see the light or whiteness as replicated in the instance blurred it, blotted it out. What was that whiteness (Frost, 1995).We all at times attempt with finding truth within our lives just as the speaker does in For Once, Then, Something.The poem is certainly well compose of classicalmeter still maintainingthe jovially gander of Frost while tying into the beauty of nature. Frost is establishing the question of truth disregarding of what interpretation the reader may convey, which is in that of his own persona. Essentially though we could all relate to a poem of this nature by victorious time to reflect our own personal accord. References For Once, Then, Something.Frost, Robert. Frost Collected Poems, Prose, & Plays. bare-assed York The Library of America, 1995. Page 208. Print. 3 Oster, Judith. Toward Rober t Frost The Reader and the Poet. Athens University of gallium Press, 1991. Page 82.Print. Talbot, John. Robert Frosts Hendecasyllabics And Roman Rebuttals. International Journal Of The guiltless Tradition 10. 1 (2003) 73-84. Literary Reference Center. Web. 12 Apr. 2015. Retrieved from http//library. gcu. edu2048/login? url=http//search. ebscohost. com. library. gcu. edu2048/login. aspx? place=true&db=lfh&AN=14854873&site=eds-live&scope=site Wikipedia contributors. Hendecasyllable. Wikipedia, The secrete Encyclopedia. Wikipedia, The Free Encyclopedia, 4 Nov. 2014. Web. 12 Apr. 2015. Retrieved from http//en. wikipedia. org/wiki/Hendecasyllable.