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Something cut short (as hair or an animal’s tail); also, a float that bobs on the surface of the water to indicate when a fish is biting on a line.

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A tall mirror set in the pier, or section, between windows.

Also an allusion to the reflection of her views.

Image via Wikimedia

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This poem is from Robert Frost’s debut collection A Boy’s Will (1913). It is significant that he chose a sonnet structure. Sonnet’s traditionally deal with major questions of life and love, which Frost’s poem does as well.

It can be understood on several levels. It is about mowing, but it is also a meditation on poetry, art, and how to live life — and even sex. Using the metaphor of mowing, with its repetitive action and ‘whispering’ scythe, Frost draws an analogy with the realities of life. Work and labor are ‘truth’ and fanciful imaginings could undermine rather than enhance art and life.

"The Veteran in a New Field" by Winslow Homer

Frost also questions the wisdom of over-analysing poetry, of seeking interpretations that may not be there. Should we just seek facts as stated, or should we delve deeper for implied meanings? And yet, it is instinctive to seek meanings, to find deeper significance in everyday tasks. The ironic validity of this question is the fact that Frost wrote the poem, it is now being analysed and will be read and scrutinised by students in the future.

Structure
The poem broadly follows a sonnet structure, traditionally with fourteen lines, divided in two sections. There are many forms of sonnet but this is Petrarchan, that is, the first eight lines, known as an octave or octet, put forward a line of reasoning, followed by six lines, a sestet, that follow a counter-argument. In many but not all sonnets, there is a volta or turn between the two sections. This isn’t the case here; the narrative flows uninterrupted to the end.

Most sonnets follow a regular rhyme pattern, but the sequence in this poem seems random — ABCB BDEC DFEGDG. Also, many sonnets have a regular metrical rhythm, usually iambic pentameter, but this isn’t the case here. The verse is flowing and the metre irregular.

We can conclude that, structurally, Frost chose to take some elements of the traditional sonnet template, but to create his own distinctive version to fit his unique purpose.

For more on sonnets see the summary of Shakespeare’s sonnet 116.

Language and Imagery
The voice is that of a first person narrator, probably the poet, using the possessive pronoun ‘my’. The tone is conversational.

The dominant device is that of the metaphor of mowing, the ‘whispering scythe’, to reflect life, labor and art.

The poem, despite seeming free and flowing, has a rhythmic to-ad-fro that imitates the movement of the scythe.

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The speaker calls the Captain “father,” another sign of his deep respect. Here Lincoln is metaphorically the father of the national family as well as the captain of the ship of state.

Compare Whitman’s “As I Ebb’d With the Ocean of Life,” in which he portrays his native shore as a “father” to which he clings:

I throw myself upon your breast my father,
I cling to you so that you cannot unloose me,
I hold you so firm till you answer me something.

Some critics have suggested a link between these father figures and Whitman’s actual father, Walter Whitman, Sr., with whom the poet had a troubled relationship. Whitman, Sr. died shortly after the first edition of Leaves of Grass appeared in 1855. In his reading of “As I Ebb’d,” R. W. French comments:

As is often pointed out, Whitman generally shows little sympathy for father figures; the best-known such figure in his poetry, for example, is the distant and fearsome father of “There Was a Child Went Forth,” a representation of power, injustice, and oppression. It is a sign of the new-found humility in this poem that the poet can plead as he does with the “father,” the land.

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Ties together the images of “exulting” crowds from stanza 1 and ringing bells from stanza 2.

Whitman suggests that celebration of the Union victory should continue despite grief over Lincoln’s death. In the final lines he seems to take the burden of mourning onto his own shoulders, as a kind of poet-spokesman for his nation.

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Supporters of Lincoln are imagined as an “eager” crowd on shore, awaiting the Captain’s arrival.

Though many Union supporters, including freed slaves, embraced their President as a hero at the end of the war, the national mood even in the North was more divided and complex than Whitman suggests. Historian Sarah Pruitt describes the scene of Lincoln’s final speech:

A cheering, singing crowd of hundreds gathered on the White House lawn, with rolls of intense applause greeting Lincoln’s appearance at the window of the second-floor balcony in the North Portico. The president waited several minutes for the din to subside….

Lincoln had prepared this speech carefully. Though he began on a joyful note—“We meet this evening, not in sorrow, but in gladness of heart. The evacuation of Petersburg and Richmond and the surrender of the principal insurgent army, give hope of a righteous and speedy peace”—and promised a day of “national thanksgiving” he proceeded directly to a reminder that the nation now faced a task “fraught with great difficulty,” that of “re-inauguration of the national authority—reconstruction.”

The formerly jubilant crowd fell silent as Lincoln delivered his remarks, which were far from the celebratory address they had expected. [History.com]

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Whitman heard the news of Lincoln’s death while staying with his mother in Brooklyn. He recalled his reaction in Specimen Days (1882):

The day of the murder we heard the news very early in the morning. Mother prepared breakfast—and other meals afterward—as usual; but not a mouthful was eaten all day by either of us. We each drank half a cup of coffee; that was all. Little was said. We got every newspaper morning and evening, and the frequent extras of that period, and pass’d them silently to each other.

https://youtu.be/JZYe_M1itjI?t=19m

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The heroic captain in this section prefigures the martyred hero of Whitman’s “O Captain! My Captain!” (1865), an elegy for the assassinated Abraham Lincoln.

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Socrates’s enigmatic final words are among the most debated in the history of literature. Colin Wells summarizes the history of the debate:

Ancient commentators, Emily Wilson tells us, basically threw up their hands, falling back on the idea that Socrates was babbling nonsensically under the influence of the poison. Modern observers, more persistent in demanding meaning from Plato’s text, have tended to take the dialogue’s content as a clue and treat Socrates’ last words as a sort of philosophical puzzle. This line of thinking goes back to Nietzsche, no mean classicist, who argued in The Gay Science that “this ridiculous and terrible ‘last word’ means for those who have ears: ‘O Crito, life is a disease.’” Asclepius was the Greek god of healing, and offering a cock in sacrifice was a way of thanking him for healing Socrates with the hemlock.

Recent philosophers have found Nietzsche’s interpretation unconvincing. To many, it distorts Platonic doctrine to equate life with a disease. Besides, such cynicism seems out of character for Socrates, who, moreover, never gives the slightest indication that he feels he’s about to be healed of anything. And so, scholars have suggested new solutions to this 2,400-year-old “riddle” regularly in leading academic journals every five years or so over the last couple of decades: Glenn Most in Classical Quarterly in 1993, James Crooks in the same journal in 1998, and Laurel Madison in The Journal of the History of Philosophy in 2002.

Wells himself argues that the “debt” refers to the unpoured libation from earlier in the passage. Unable to pour a tribute to the gods, Socrates asks Crito to sacrifice a bird instead. More context here.

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Oil on canvas, 2' 8" x 2' 2" (81 cm x 65 cm), 1888. Kröller-Müller Museum, Netherlands.

Set in Arles, France, “Café Terrace at Night” is one of Van Gogh’s most iconic paintings. Click the image at left for more info.

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