"Mending Wall" was written in blank verse, which is a kind of poetry with unrhymed lines in iambic pentamenter, a rhythmic system with five pairs of syllables per line, each pair including an unstressed syllable followed by a stressed syllable. The pattern is seen in the poem's opening four lines. It continues through most of the poem, except for some variations caused by spelling (e.g., "mending" instead of "mend") and grammar (e.g., "wall" instead of "wale"). At the end, Frost returns to the regular pattern.
Blank verse is used by many great poets. Its name comes from the fact that there are no specific rules about where or how far apart words should be placed on the page. That is, there are no formal restrictions other than those imposed by the rhythm and meter of the language. While it is common for writers to suggest a particular style or tone for their work using pre-existing forms, modern poets are also free to create their own forms if they choose. For example, William Shakespeare used early 17th century accentual-syllabic verse in his plays but called his own form "blank verse". Modern poets may do the same.
In conclusion, "Mending Wall" was written in blank verse.
This regular meter, known as iambic pentameter due to the five emphasized beats, or foot, every line, indicates that this is not a free verse poem. Although it does not rhyme, the metrical elements of the poem ensure that it is referred to as blank verse. "Mending Wall" is written in blank poetry, which is iambic pentameter that is not rhymed. Blank verse is used when poetic language is desired but no specific form is needed to express an idea.
Blank verse is most commonly found in epic poems and other long works where the author wants to show off their skills with no restrictions on them. John Milton was one of the first to use this style, especially in his Paradise Lost.
Modern poets may choose to use this style when they want to show off their skills too without restricting themselves. Charles Bukowski is one poet who uses this style frequently with his own unique twist to it. He usually starts each poem with the same four lines: "The last word has not been said yet." This tells the reader that what follows will be in blank verse.
Even though "Mending Wall" isn't a free verse poem, it still uses some of the techniques of blank verse. First, the meter is regular so stressed and unstressed syllables are evenly distributed throughout the line. Second, there are no punctuation marks except for the full stops at the end of each line.
One of Robert Frost's most famous poems is "Mending Wall." In this case, we can observe that the lines do not rhyme, indicating that it is not a classic literary form such as a sonnet or a ballad. Instead, they are simply two sets of three-line stanzas that describe the process of repairing a section of wall in a farmer's field.
Frost published "Mending Wall" in 1948. The poem was inspired by a scene he saw on a farm where a man was using a wheelbarrow to carry stones from a nearby walled garden to a place where they could be used to repair another part of the farm wall.
Frost wrote many other poems during his lifetime, but none reached the popularity of "Mending Wall." However, many people now consider it his best work.
Here are the first three lines:
"Two miles outside of town there is a white fence lapping at one side of the road. Beyond the fence is a field of corn and behind the field is more corn, stretching as far as the eye can see.
"The sun is shining, but no one is around. There is nothing to indicate that anyone lives there except for some old tools lying in the grass.
One such poem is "Mending Wall." It has a structure because of the meter, but no identifiable rhyme system. The end rhymes are based on sound rather than meaning (oven / cave / fall / all), and there's no apparent pattern to them.
In this case, it's best to think of sounds rather than specific letters. For example, wall may be spelled w-a-l-l or weal; oven may be o-v-e-n or oil. This kind of rhyme uses assonance (same vowel sound) and consonance (similar consonants) to create a pleasant effect without using exact matches.
Another example is ballroom where you can hear the sounds b-a-l-l-o-r and smith where you can hear the s-m-i-t-h. These words don't exactly match in meaning or sound, but they work together well to create an impression of a dance floor.
Finally, there's alliteration (repeating initial sounds). The first word of the poem begins with a P, the second with an F, and so on. Although these sounds are not identical, they share the quality of being loud and clear.
The name of a poem's meter is determined by the name of the dominant foot and the number of feet in the line. The iamb, for example, is the dominating foot in Robert Frost's "Mending Wall," and there are five feet each line. The poem is thus written in iambic pentameter. Many other meters are used in poetry: tetrameter with four feet per line (such as Pope's "Windsor Forest"); heptameter with seven feet (as in Shakespeare's plays); and so on.
Meters can also be used to describe the quality of sound or style of writing in general. Fast metered poetry is known as blank verse while music performed to a written text is called operatic buffa. A poem written in a strict meter but without clear accent marks or syllable counts would be called monometered.
In English poetry, most lines contain an equal number of stressed and unstressed syllables. This is not always the case; for example, a line from John Donne's "Holy Sonnet 12" contains an odd number of syllables: two more than usual and one less than usual. Meters tend to distribute their stress evenly or not at all. Donne was a master of this form of poetry, which is based on religious devotion.
In classical Greek poetry, certain meters were used exclusively for certain types of poems.
In his poem "Mending Wall," Robert Frost used metaphor and personification to explore the issue of erecting actual or symbolic barriers that divide individuals. Frost, for example, illustrates, "To each the rocks that have fallen to each./And some are loaves, and some are nearly balls" (16-17). In this case, the wall that has been built serves as a barrier preventing contact between two groups of people: farmers and fishermen. However, both parties realize that the wall will eventually need to be mended if it is to remain effective.
Frost also uses allusion and irony throughout the poem. An allusion is when one reference is made but not defined specifically. In this case, readers understand that the fisherman is comparing his net to a wall because they both serve to catch fish. But since a wall is meant to separate people, readers can assume that the fisherman does not like the wall that another farmer has erected.
Irony is when what appears to be an honest statement is actually not so truthful. For example, when the fisherman says that he has "caught nothing" lately, readers know that this is not really true; otherwise, why would he be building a wall?
Frost uses other literary devices as well. Metaphor is when one thing is represented as something else without saying exactly what it is.