By Linda Ward Beech, Linda Beech
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In the end, both are necessary, in a sense, but Frost definitely seems to have a preference for one over the other. Natural limits occur throughout the poem, but they are most directly treated from lines 5 through 20 and from lines 45 through 52. Frost’s view of these limits is complex, neither condemning them fully nor embracing them. Consider the description of the ice-laden trees in the beginning of the poem (lines 6–11). ” Yet the storm, which has encrusted the branches with crystalline ice, makes them far more beautiful than they were before.
Here, he introduces a sensual image and prepares the way for a serious theme about love that will emerge only at the end of the poem. But at this point, in the first twenty lines, it is enough to notice that Frost has devoted more than half of his lines (twelve) to metaphors about the ice on the trees. Without using like or as, the first part of Frost’s poem is little more than a comparison of ice-storm-bent trees to various other things and people. Then, in line 21, Frost returns to his beginning: he returns to line 4.
It is this tension within the poem that makes each world both appealing and painful—the real world might be a place of pain, but it is also the place for love; the imaginary world is innocent, but it is also solitary and, by extension, loveless. The Need for Limits In “Birches” and many other Frost poems, the limits imposed by the real world are seen not only as a consequence of being in the world but as a necessary condition for existing as a person. The borders of the world define a person and place him or her in the real world, just as the birch trees are bent back toward the earth by the ice storm.
240 Vocabulary Words 5th Grade Kids Need To Know: 24 Ready-to-Reproduce Packets That Make Vocabulary Building Fun & Effective by Linda Ward Beech, Linda Beech