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This poem is W. H. It fits with Auden’s definition of poetry as a “memorable speech.” Frost’s unique gift was to write a poem that burns holes in your brain. You will never forget his best line. They stick to you – and they change your life. I can’t imagine how many times “snow dust” has returned to my memory and “save part of the day I remember.” The language was simple and concrete, and the rhythm was collaborated for maximum effect. The rhyme locks meaning into place, along with a effortless two-beat line. The entire poem is a single sentence, spreading towards the thrill of its conclusion.
The great verses of the proverb reach their peak in Fire and Ice (1920) and Nothing Gold Can Stay (1923). This is the highlight of “New Hampshire.” If you reread these, you will see the advantages and disadvantages of “nothing new.” Its metering format predicts “fire and ice” and mixes two short lines with a rhyming tetrameter (four beat lines) mixed together “Nothing New -Nowed” and “Same Dream.” In both cases, the short lines summarise how the poem appears to unfold, and slightly destroy it. The poem begins with that “moment” when “Dust of the Day” (restrains the “Dust of Snow”) changes to “spray” when it hits the speaker’s face. The dust is snow. In fact, the tactile Experiences resurface “winter dreams.”
Frost is one of the great poets of winter. (See Frost’s “Desert Place” in 1933 and look at winter as a psychological landscape.) In “Nothing New,” “Winter Dream” reminds the speaker of a “younger” era. Masu. But he was also “sad” in these youthful times. The present moment feels that he is “not even sadder than that.” It is an observation that complicates emotions. The “Nothing New -” line prevents the syntax rolls from slipping. Don’t panic about me. ”
The last two lines are amazing to me. “I’m going further down my own path, but again the same dream.” Reading this, I was lifted from the frozen valley from “Apple-Picking” (1914) through the “glass pane.” Regarding “drowsing”, we have no choice but to hear the passage echo from “Apple-Picking” (1914).
Poems by major poets like frost cannot be read in isolation. Lines address, amplify, correct and challenge other lines. At the end of “Nothing New,” when Frost claims that he is “more ahead of my path / the same dream again,” he first dreamed when he was young, “winter Do you mean more along his path through the dream of “? Are you playing sadly? I think so, and I also must have been somewhat unhappy with the way Frost landed the last line. There is no sublime total effect seen at the end of “fire and ice”, “money cannot stay”, or of course “snow dust”. Despite gestures towards a particular stoic resolve, “nothing new” has an open-ended, unstable quality.
When he collected poems from “New Hampshire,” Frost took a glance at “Nothing New” and decided that it was not exactly the best of his series of proverbs. But I want him to include it and I’m glad we have it now. It has a Grace Note that I don’t want to lose. ♦
