Maybe the father of the child is the narrator himself. Then he starts dressing and says he need to go to take fresh air. The wife moves to the door but did not speak anything. After coming out of the house, the poet is saying that perhaps he needs to please her.
Here he says,. Maybe this line addressing his wife. They do not love each other but still staying together. The wife moved to the latch and says not to go through her husband already gone. The wife is now giving a speech that she wants to get a chance and she is also like other women not exceptional. Then the wife is saying that he dug the ground for letting the child stay there then what is about feelings.
Her emotions come out in that segment as she says she always keeps on watching at the grave and ask the god for justice. After the death of the child, she is talking like this and her whole life gets bitter.
The death of the child does not make any changes to the father. These lines speak that because of the grief she is getting mad. Andrew has a keen interest in all aspects of poetry and writes extensively on the subject.
His poems are published online and in print. Home Burial is a dramatic dialogue poem that details the emotional and psychological reactions of a rural couple following the death and subsequent burial of their young son. The poem is set in the family home, possibly a farmhouse in rural New England, so the wife and husband live away from community and bear the burden of their loss fully.
The woman's name is Amy but the man and the child remain anonymous. Reading through this poem, written in blank verse, the reader becomes part of a short, intense scene from a play. The imagery is clear, the characters in position - what follows is an increasingly serious drama, the dialogue switching from man to woman as the narration progresses. This is a subject Robert Frost had first-hand experience of, having lost a son aged 4 in the year The tragic death haunted him and his wife Elinor for years, which is why he would never read this poem aloud as he related to biographer Lawrance Thompson, it was 'too sad' to read.
Between and he wrote 22 dialogue poems. Both Frost and his wife believed in the power of conversation as a means to overcome misunderstanding. In the poem Frost explores this theory of speech - 'All truth is dialogue' he maintained - both characters attempting to work through their grief with the spoken word, but, in the end, without success. As the poem moves along a tightrope of tension the tone changes as man and wife struggle to find a shared solace.
The man cannot understand the woman's pent up emotion and unwillingness to open up; the woman is inwardly outraged by her husband's going on about fences in the immediate aftermath of the burial. And when the conversation touches on the prickly subject of sex within the marriage, the dilemma seems to deepen. Both want what the other cannot give. Both need sympathy but there is no outsider, no one available to offer them counselling, and no mention of a higher power such as a christian God.
A tense and torn relationship results and the reader is left to ponder on the final outcome. What makes the poem of relevance still is its detailed focus on the modern partnership when it comes to family deaths and alienation. Although a hundred years or more have passed since the poem's first appearance, the dialogue maintains its freshness and validity. Readers continue to debate the issues around death, concentrating on Amy's grief as a mother in contrast with the frustration felt by the reasoning father.
Home Burial has a total of lines which includes both dialogue and narration. It reads like a scene from a play, Frost's astute use of blank verse unrhymed pentameters perfect for the dialogue of man and wife as they come to terms with the bereavement. The syntax, the way clauses and grammar combine, is straightforward enough. Frost's 'sound of sense' how he ordered the language to bring textured and unusual sounds to the fore isn't so prevalent. In this poem the emphasis is on the dialogue and the management of tension, how the man and woman articulate their feelings.
This is the first block of text. It begins with the narrator describing how the husband first sees his wife at the top of the stairs. She'a about to descend, having looked through the top window out to where her child is now buried. The initial five lines are third person narrated, setting the scene. The tone is neutral at this point. Then the husband's voice is heard first, halfway through line six. His tone is more questioning as he seeks to learn what his wife has been looking at.
That phrase 'up there always' suggests that she's been up there on several occasions. As she hesitantly descends she sits down, somewhat exhausted. He climbs the stairs, demanding to know just what it is she sees.
This puts the husband in an assertive role. You could sit there with the stains on your shoes Of the fresh earth from your own baby's grave And talk about your everyday concerns.
You had stood the spade up against the wall Outside there in the entry, for I saw it. I'm cursed. God, if I don't believe I'm cursed. What had how long it takes a birch to rot To do with what was in the darkened parlor. You couldn't care!
The nearest friends can go With anyone to death, comes so far short They might as well not try to go at all. No, from the time when one is sick to death, One is alone, and he dies more alone.
Friends make pretense of following to the grave, But before one is in it, their minds are turned And making the best of their way back to life And living people, and things they understand.
But the world's evil. I won't have grief so If I can change it. Oh, I won't, I won't! You won't go now. You're crying. Close the door. The heart's gone out of it: why keep it up. There's someone coming down the road! I must go-- Somewhere out of this house. How can I make you--' 'If--you--do!
First tell me that. I'll follow and bring you back by force. I will! To Earthward Love at the lips was touch As sweet as I could bear; And once that seemed too much; I lived on air That crossed me from sweet things, The flow of—was it musk From hidden grapevine springs Downhill at dusk?
I had the swirl and ache From sprays of honeysuckle That when they're gathered shake Dew on the knuckle. I craved strong sweets, but those Seemed strong when I was young; The petal of the rose It was that stung. Now no joy but lacks salt, That is not dashed with pain And weariness and fault; I crave the stain Of tears, the aftermark Of almost too much love, The sweet of bitter bark And burning clove.
When stiff and sore and scarred I take away my hand From leaning on it hard In grass and sand, The hurt is not enough: I long for weight and strength To feel the earth as rough To all my length. Robert Frost Christmas Trees A Christmas circular letter The city had withdrawn into itself And left at last the country to the country; When between whirls of snow not come to lie And whirls of foliage not yet laid, there drove A stranger to our yard, who looked the city, Yet did in country fashion in that there He sat and waited till he drew us out, A-buttoning coats, to ask him who he was.
He proved to be the city come again To look for something it had left behind And could not do without and keep its Christmas. He asked if I would sell my Christmas trees; My woods—the young fir balsams like a place Where houses all are churches and have spires.
I must go - somewhere out of this house. How can I make you - But time, presumably, will resolve their differences. In Home Burial the strange and the familiar are strikingly blended. The talk is the talk of everyday, the accents of a man and wife facing a sort of crisis. But the situation is strange -common in words, uncommon in the experience. Frost brings larger issues into the forefront issues such as husband-wife relationship or that between man and woman, or life and death. The title of the poem is highly significant; it suggests not only the burial of the dead infant, but also of the domestic harmony.
In Home Burial, blank verse has been employed very effectively. It gives expression to different shades of feeling and thought and is highly helpful in revealing the characters involved. The main interest of the poem is the revelation of characters in 'conflict'. The husband and the wife are distinct personalities in the poem. The woman is, no doubt, hysterical and not prepared to hear the logic of unfeeling man; the man is considerate and manly.
To express the intensities and interruptions, such a masterly use of monosyllables is notable.
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