- The following is a portion of what I added to my original post: Iambic Pentameter & Robert Frost’s Birches. The addition is substantial enough that I thought some readers might find it interesting in and of itself.
For most readers Frost’s Birches offers no hidden subtext beyond what’s grasped intuitively.
But this hasn’t stopped some interpreters. For instance, in Robert Frost: Modern Poetics and the Landscapes of Self, Frank Lentricchia remarks:
Those “straighter, darker trees,” like the trees of “Into My Own” that “scarcely show the breeze,” stand ominously free from human manipulation, menacing in their irresponsiveness to acts of the will.
I’ve read Birches countless times, and the feeling of an ominous menace never once crossed my mind. To read this kind of interpretation into the imagery requires some kind of context and there simply is none – not in two lines. And referring to “Into my Own”, as though the two poems were somehow related or created the context for such an interpretation, is nonsensical. But the bottom line is that there doesn’t have to be a symbolic undercurrent (or double meaning) to every single word or image. Close readers and academics love nothing more than teasing out interpretations, but just because it can be done, doesn’t mean there’s any objective validity to the interpretation. At some point, such exercises strike me as being more like parlor games.
Just because the other trees are darker doesn’t mean that they are ominous. Fact is, every single tree in the New England landscape is darker than the birch. And for the most part (and after a good ice storm) most other trees are, factually, straighter than birches. In The Wood Pile, Frost refers to the view as being “all in lines/Straight up and down of tall slim trees,” One need not read any more into Frost’s imagery than the simple fact of it.
But, naturally, if Lentricchia is going to invoke menace, he needs to explain why (to justify that interpretation). He writes that they are menacing in their “irresponsiveness to acts of human will”. I just don’t buy it.
At best, one would need to make the assumption that Frost’s use of the word dark always constituted some kind of menace when used in reference to trees or the woods. But in his most famous poem, Stopping by Woods on a Snowy Evening, Frost writes that “The woods are lovely, dark and deep”. Despite Frost’s use of the word lovely, this hasn’t stopped close readers from suggesting that Frost was contemplating suicide and that loveliness, far from being praise of the New England wood in winter, was a contemplation of the lovely, dark and deep oblivion that is suicide (or so they interpret it). Richard Poirer is among those who have made this suggestion. By the absence of a comma between the word dark and the word and he concludes that the “loveliness thereby partakes of the depth and darkness which make the woods so ominous.” The italics are mine. But Poirier’s reading could hardly be called objective. There is, in fact, no way of knowing what significance such punctuation might have held for Frost. However, Frost did have a thing or two to say about ominous interpretations. William Pritchard writes, in Frost: A Literary Life Reconsidered:
Discussion of this poem has usually concerned itself with matters of “content” or meaning (What do the woods represent? Is this a poem in which suicide is contemplated?). Frost, accordingly, as he continued to read it in public made fun of efforts to draw out or fix its meaning as something large and impressive, something to do with man’s existential loneliness or other ultimate matters. Perhaps because of these efforts, and on at least one occasion – his last appearance in 1962 at the Ford Forum in Boston- he told his audience that the thing which had given him most pleasure in composing the poem was the effortless sound of that couplet about the horse and what it does when stopped by the woods: “He gives the harness bells a shake/ To ask if there is some mistake.” We might guess that he held these lines up for admiration because they are probably the hardest ones in the poem out of which to make anything significant: regular in their iambic rhythm and suggesting nothing more than they assert… [p. 164]
All of which is to say, Frost had little patience for self-pity or, by extension, suicide. One need only read Out, Out to get a sense of Frost’s personality. In short, one can contemplate the soothing darkness and loveliness of the woods without contemplating suicide. But you decide.
But swinging doesn’t bend them down to stay.
Ice-storms do that. Often you must have seen them
Loaded with ice a sunny winter morning
After a rain. They click upon themselves
As the breeze rises, and turn many-colored
As the stir cracks and crazes their enamel.
Soon the sun’s warmth makes them shed crystal shells
Shattering and avalanching on the snow-crust
Such heaps of broken glass to sweep away
You’d think the inner dome of heaven had fallen.
They are dragged to the withered bracken by the load,
And they seem not to break; though once they are bowed
So low for long, they never right themselves:
You may see their trunks arching in the woods
Years afterwards, trailing their leaves on the ground,
Like girls on hands and knees that throw their hair
Before them over their heads to dry in the sun.
But I was going to say when Truth broke in
With all her matter-of-fact about the ice-storm,
I should prefer to have some boy bend them
As he went out and in to fetch the cows–
The italicized lines bracket a digression that Frost characterizes as Truth. What does he mean? In fact, the differentiation Frost implies between Truth and his playful, imaginary fable of the boy climbing the birches, is central to the poem’s meaning. The world of Truth could be construed as the world of science and matter-of-factness – a world which circumscribes the imagination or, more to the point, the poetic imagination, Poetry. The world of the poet is one of metaphor, symbolism, allegory and myth making. At its simplest, Frost is describing two worlds and telling which he prefers and how he values each. “One could do worse than be a swinger of birches.” And by that, he could almost be saying: One could do worse than be a poet.
The underlined passage “You’d think the inner dome of heaven had fallen”, has been nicely interpreted as a reference to Ptolemaic astronomy (which believed that the planets and stars were surrounded by crystal spheres or domes). I like that interpretation and I can believe that Frost intended it. The inner dome and its shattered crystal shells like “heaps of broken glass” fit neatly within the allusion. But there is significance in the allusion. The Ptolemaic model of the universe was a poetic construct – a theory of the imagination rather than matter-of-factness. In this sense, Truth as Frost calls it (or modern science) has collapsed the inner dome of the poetic imagination and replaced it with something that doesn’t permit the poet’s entry. The shattered inner dome of the imagination (of the myth makers) has been replaced by fact – by science.
And in this light, the entirety of Frost’s description, climbing the birches, just so, and swinging back down, becomes a kind of description for the life which the poet seeks and values – the imaginative life of the poet:
…. He learned all there was
To learn about not launching out too soon
And so not carrying the tree away
Clear to the ground. He always kept his poise
To the top branches, climbing carefully
With the same pains you use to fill a cup
Up to the brim, and even above the brim.
Then he flung outward, feet first, with a swish,
Kicking his way down through the air to the ground.
So was I once myself a swinger of birches.
And so I dream of going back to be.
It’s when I’m weary of considerations,
And life is too much like a pathless wood
Where your face burns and tickles with the cobwebs
Broken across it, and one eye is weeping
From a twig’s having lashed across it open.
I’d like to get away from earth awhile
And then come back to it and begin over.
May no fate willfully misunderstand me
And half grant what I wish and snatch me away
Not to return. Earth’s the right place for love:
I don’t know where it’s likely to go better.
I’d like to go by climbing a birch tree….
The poet learns all there is to learn about “not launching out too soon”. He could be describing the art of poetry. You cannot swing from a birch without the right height. But if you also climb too high, if your ambitions exceed the matter of your poem, the birch will break . You must write your poetry, climbing carefully, with the “same care you use to fill a cup,/Up to the brim, and even above the brim.” But I don’t want to limit the poem’s meaning to just this. Frost is describing more than the poet, but a whole way of interpreting the world.
It’s the difference between the mind that seeks objective truths, irrespective of the observer, and the mind that perceives world as having symbolic, metaphorical and mythical significance. It’s the world of religion and spirituality. Its the world of signs and visions – events have meaning. In the scientific world view, nothing is of any significance to the observer: life is like a “pathless wood”, meaningless, that randomly afflicts us with face burns, lashing us, leaving us weeping. The observer is irrelevant. In some ways, science is anathema to the poet’s way of understanding the world. It’s loveless. And that’s not the world Frost values. “Earth’s the right place for love,” he writes. The woods that he values have a path and the birches are bent with purpose.
But having said all that, Frost also acknowledges a balance.
I’d like to go by climbing a birch tree
And climb black branches up a snow-white trunk
Toward heaven, till the tree could bear no more,
But dipped its top and set me down again.
That would be good both going and coming back.
If we read him right, he seems to be saying that he prefers not to be too much in one world or the other. Let him climb toward heaven, both literally and figuratively, but let him also be returned to earth. Having written this much, Frank Lentricchia’s own interpretation of the poem’s divisions may be more easily understood:
….There is never any intention of competing with science, and therefore, there is no problem at all (as we generally sense with many modern poets and critics) of claiming a special cognitive value for poetry. In his playful and redemptive mode, Frost’s motive for poetry is not cognitive but psychological in the sense that he is willfully seeking to bathe his consciousness and, if the reader consents, his reader’s as well, in a free-floating, epistemologically unsanctioned vision of the world which, even as it is undermined by the very language in which it is anchored, brings a satisfaction of relief when contemplated…..
If I may be so bold as to interpret (and interpreting academese does take some boldness), what Lentricchia seems to be saying is that Frost’s philosophical stance does not arise from any direct experience (as stated in the poem). Direct experience would be “epistemologically sanctioned”. Epistemology, a word coddled and deployed by academics with fetishistic ardor, is the “branch of philosophy that investigates the origin, nature, methods, and limits of human knowledge.” So, to interpret, Lentricchia appears to be saying that Frost’s “vision/philosophy” is not “epistemologically/experientially” “sanctioned/based“. In short, Frost’s experience (and that of the readers) is that of the poet and poetry – the purely subjective realm of imagination, story telling and myth making.
Interestingly, those who criticize the poem for being without basis in experience (Lentricchia is not one of them) seem blissfully unaware that this is precisely the kind of knowing that the poem itself is criticizing and examining. That is, the poem is its own example of myth-making — the transformative power of poetry. Yes, says Frost, there is the matter-of-fact (epistemologically sanctioned) world, but there is also the poetical world – the world of metaphor and myth that is like the slender birch (and the poem itself). It can be climbed but not too high. The matter-of-fact world is good to escape, but it is also good to come back to.
John C Kemp, in Robert Frost and New England: The Poet as Regionalist, goes further in explaining what some readers consider the poem’s weaknesses.
“Mending Wall,” “After Apple-Picking,” and “The Wood-Pile” are centered on specific events that involve the speaker in dramatic conflicts and lead him to extraordinary perspectives. ¶ (….)however, “Birches” does not present a central dramatized event as a stimulus for the speaker’s utterance. Although the conclusion seems sincere, and although Frost created a persuasive metaphorical context for it, the final sentiments do not grow dramatically out of the experiences alluded to. (….) Frost’s confession that the poem was “two fragments soldered together” is revealing; the overt, affected capriciousness of the transitions between major sections of the poem (ll. 4-5, 21-22, and 41-42) indicates that instead of striving to establish the dynamics of dramatized experience, he felt he could rely on the force of his speaker’s personality and rural background. In early editions, a parenthetical question, “(Now am I free to be poetical?),” followed line 22, making the transition between the ice storm and the country youth even more arbitrary.
My own view is that rather than making the poem feel arbitrary, the question Now am I free to be poetical? makes Frost’s thematic concerns too explicit. The question too sharply defines the contrast between the matter-of-fact and the poetical. In short, Frost may have felt that the question overplayed his hand. (Some critics read this question as an affectation. I don’t. I read it as signaling the poem’s intent, a “stage direction” that Frost later removed.)
Frost was striving for balance both in poem and subject matter — between the poetical and the matter-of-fact.