Imagine yourself observing, watching somebody, or imagine yourself being watched. I must get out of here. And talk about your everyday concerns. Robert Frost’s poem "Home Burial" speaks of the tragedies in a couple's life. Frost acknowledges that Amy--like Elinor, perhaps--is confined by the literal creativity that her role as wife demands and by the emotions that such limitation imposes. Once you pay the invoice, we send your order to the relevant and experienced writer to start the process of writing. The least seeing our hero does is in "‘Just that I see,’" for by this time the verb, having already been used four times, is robbed of its "observing" and "understanding" meaning (not to mention the fact— draining the word even further of content—that we readers are ourselves still in the dark, still don’t know what there is to see out that window). And making the best of their way back to life The wife uses about 10 percent more of these extrasyllabic lines, a difference that does not seem conclusive in establishing the husband's authority even as it suggests the direction of Frost's sympathies (of the husband's forty-nine lines, fifteen are extrasyllabic; of the wife's forty-one lines, seventeen are extrasyllabic). His next "What is it you see" is the first of his many repetitions; if one knew only this man one would say, "Man is the animal that repeats." The unnamed couple in this poem has lost a baby to, "Home Burial," a dramatic narrative largely in the form of dialogue, has 116 lines in informal blank verse. He sounds like a giant child, or a child being a giant or an ogre. "Mounting" versus "cowered" gives you the contrast, then, between their respective frames, with the implicit danger contained in his largeness. Once again, the relationship between the husband and wife's creativity emerges most clearly in language: his language wounds powerfully, and, however unwittingly, he, not she, is the metaphor-maker, the poet who speaks of fences when his heart aches. He, in extremities, usually repeats some proverbial or rhetorical generalization; at such moments she usually responds either with a particular, specific sentence or else with something more particular than any sentence: with some motion or gesture. . The effect that Frost tries to create is the inadequacy of response when you automatically repeat the first word that comes to your tongue. Then the man says, trying desperately—feebly—to keep her within reach of that force or menace: "Where do you mean to go? Don't go to someone else this time.'" The ability to turn this material into a blank-verse, pentameter monotone adds another degree to that detachment. She was willing to go almost too far to show her feeling about it, the more so that she couldn't find anyone who would go far enough. . Should he have taken his shoes off before entering the house? It’s an extremely loaded scene—or, better yet, a frame. We haven’t to mind those. But this heavy-willed compulsion changes into sheer appeal, into reasonable beseeching, in his next phrase: "you must tell me, dear." The word "hole" (insisted on even more by the rhyme with "roll") gives to the grave the obscene actuality that watching the digging forced it to have for her. The theme of "Home Burial” is centered at the death of couple’s child. Amy seems like she confines their child to the grave. Both insist that nothing humans make: fences, marriages, homes, children, or poems, can escape the deathly “rot” that comes to everything. But with the feeling, akin to a sad, modest, relieved, surprised pride, with which he regularly responds to his own understanding, he tells her that he does understand: what matters is not the old stones but the new mound, the displaced earth piled up above the grave which he had dug and in which their child is buried. Place yourself here in either position—better in his—and you’ll see what I mean. Amy’s husband buried their child himself. You don’t hear the words, yet you know the general drift of their dialogue; in fact, you may pretty accurately figure out its substance.
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