49. Mending Walls (10)
1. Is ecocriticism identified in the poem?
A:-Frost's all poems are analysed under ecocriticism. Ecocritics check how nature is represented in literature, whether as property, physical setting or exploited. The mention of 'The Gift Outright' means the land was ours before we were the land's.
Land is commodified. This horrifies ecocritics.
2. What are the trees in the poem?
A:- In 'Mending Walls' trees create barriers as boundary. The more nature is around us, the more powerful we become. We can manicure gardens and lawns.
3. In which period was this poem was this poem written?
A:- This poem was written in his early period of writing career.
4. 4. Give the summary of
“Mending Wall”.
A:- The poem is written by Robert Frost.
A stone wall separates the speaker’s property from his neighbor’s. In spring, the two meet to walk the wall and jointly make repairs. The speaker sees no reason for the wall to be kept—there are no cows to be contained, just apple and pine trees. He does not believe in walls for the sake of walls. The neighbor resorts to an old adage: “Good fences make good neighbors.” The speaker remains unconvinced and mischievously presses the neighbor to look beyond the old-fashioned folly of such reasoning. His neighbor will not be swayed. The speaker envisions his neighbor as a holdover from a justifiably outmoded era, a living example of a dark-age mentality. But the neighbor simply repeats the adage.
5. Comment on the form of the poem.
A:- Blank verse is the baseline meter of this poem, but few of the lines march along in blank verse’s characteristic lock-step iambs, five abreast. Frost maintains five stressed syllables per line, but he varies the feet extensively to sustain the natural speech-like quality of the verse. There are no stanza breaks, obvious end-rhymes, or rhyming patterns, but many of the end-words share an assonance (e.g., wall, hill, balls, wall, and well sun, thing, stone, mean, line, and again or game, them, and him twice). Internal rhymes, too, are subtle, slanted, and conceivably coincidental. The vocabulary is all of a piece—no fancy words, all short (only one word, another, is of three syllables), all conversational—and this is perhaps why the words resonate so consummately with each other in sound and feel.
“Mending Wall” is sonorous, homely, wry—arch, even—yet serene; it is steeped in levels of meaning implied by its well-wrought metaphoric suggestions. These implications inspire numerous interpretations and make definitive readings suspect.
6. Comment on the image of Sisyphus in the poem.
A:- The image at the heart of “Mending Wall” is arresting: two men meeting on terms of civility and neighborliness to build a barrier between them. They do so out of tradition, out of habit. Yet the very earth conspires against them and makes their task Sisyphean. Sisyphus is the figure in Greek mythology condemned perpetually to push a boulder up a hill, only to have the boulder roll down again. These men push boulders back on top of the wall; yet just as inevitably, whether at the hand of hunters or sprites, or the frost and thaw of nature’s invisible hand, the boulders tumble down again. Still, the neighbors persist. The poem, thus, seems to meditate conventionally on three grand themes: barrier-building (segregation, in the broadest sense of the word), the doomed nature of this enterprise, and our persistence in this activity regardless.
7. Comment on the complexity of the poem.
A:- When we look closely at Frost’s best poems, what begins in folksy straightforwardness ends in complex ambiguity. The speaker would have us believe that there are two types of people: those who stubbornly insist on building superfluous walls (with clichés as their justification) and those who would dispense with this practice—wall-builders and wall-breakers. These impulses not so easily separable.
8. Comment on the wall-building act.
A:- The speaker says he sees no need for a wall here, but this implies that there may be a need for a wall elsewhere— “where there are cows,” for example. Yet the speaker must derive something, some use, some satisfaction, out of the exercise of wall-building, or why would he initiate it here. There is something in him that does love a wall, or at least the act of making a wall.
This wall-building act seems ancient, for it is described in ritual terms. It involves “spells” to counteract the “elves,” and the neighbor appears a Stone-Age savage while he hoists and transports a boulder. Well, wall-building is ancient and enduring—the building of the first walls, both literal and figurative, marked the very foundation of society. Unless you are an absolute anarchist and do not mind livestock munching your lettuce, you probably recognize the need for literal boundaries. Figuratively, rules and laws are walls; justice is the process of wall-mending. The ritual of wall maintenance highlights the dual and complementary nature of human society: The rights of the individual (property boundaries, proper boundaries) are affirmed through the affirmation of other individuals’ rights. And it demonstrates another benefit of community; for this communal act, this civic “game,” offers a good excuse for the speaker to interact with his neighbor. Wall-building is social, both in the sense of “societal” and “sociable.” What seems an act of anti-social self-confinement can, thus, ironically, be interpreted as a great social gesture. Perhaps the speaker does believe that good fences make good neighbors— for again, it is he who initiates the wall-mending.
A little bit of mutual trust, communication, and goodwill would seem to achieve the same purpose between well-disposed neighbors—at least where there are no cows. And the poem says it twice: “something there is that does not love a wall.” There is some intent and value in wall-breaking, and there is some powerful tendency toward this destruction.
9. Comment on the creative process of the poem.
A:- “Mending Wall” is no exception. On the basic level, we can find here a discussion of the construction-disruption duality of creativity. Creation is a positive act—a mending or a building. Even the most destructive-seeming creativity results in a change, the building of some new state of being: If we tear down an edifice, you create a new view for the folks living in the house across the way. Yet creation is also disruptive: If nothing else, it disrupts the status quo. Stated another way, disruption is creative: It is the impetus that leads directly, mysteriously (as with the groundswells), to creation. The stone wall has a duality. In any case, there is something about “walking the line”—and building it, mending it, balancing each stone with equal parts skill and spell—that evokes the mysterious and laborious act of making poetry.
10. Comment on the barrier aspect of the poem in relation to the poet's creative capacity.
A:- On a level more specific to the author, the question of boundaries and their worth is directly applicable to Frost’s poetry. Barriers confine, but for some people they also encourage freedom and productivity by offering challenging frameworks within which to work. On principle, Frost did not write free verse. His creative process involved engaging poetic form (the rules, tradition, and boundaries—the walls—of the poetic world) and making it distinctly his own. By maintaining the tradition of formal poetry in unique ways, he was simultaneously a mender and breaker of walls.