Going for Water by Robert Frost
Going for Water was first published in A Boy’s Well in 1913. It figured at the end of the first three sections and it was one of only two poems the other being reluctance not to have a gloss. Many of the poems in the volume and like many of the poems in the volume it is set in a natural landscape moreover the images it presents the brook the words and the hearing of soft music are typically frosty and both in their recurrence in Frost’s Canon and in their symbolic meaning. The situation in the poem is also one of Robert Frost favorites: The speaker tells of how he and another person were once forced to go in search of a brook because there well was empty. Their quest affords them the opportunity to enter the woods behind their hoist and to stop there caught up with a feeling of exhilaration at the sight of a moonlit Sylvan scene.
The experience is characterized as ecstatic: The couple joined the woods in making the hush, which allows them to hear soft music coming from the brook. Like “Directive” the poem alludes to the search for a spring prefiguring the leader poems more explicit reference to the archetype of regeneration through initiatory rites.
In addition, “Going for Water” could also be a metaphor for Robert Frost‘s conception of poetical inspiration as the poet himself derived it from his more complex theory of the sign of sense. The image then would be that of a poet whose auditory imagination is triggered by signs that he litter transforms into fully formed images.
Title of the Poem/ Summary
Rhyme, Rhythm structure, and form
Now let’s look at poetic techniques( including imagery and sound)
So in the first line we have well was dry beside the door so we have alliteration and we have assonance and the alliteration could be symbolic of their duty and their life their chores the fact that they need to escape from what they’re currently doing then we have we went on the next line which emphasizes their enthusiasm for the task they’re doing. There is an enthusiastic excited tune almost jubilant really and this is highlighted further through the assonance throughout the poem, that mimics the joy of the children. Door so across Brooke not lost to go no other repetition of the O’s or the repetition of quite a lot of oils actually and it’s quite a playful colloquial tone conversational narration of events. The collective pronouns such as we and/or are really important because it emphasizes the unity between the children and their lust for adventure and then we have the use of prepositions across and behind in the third line that are to the adventurous feel of the poem highlighting the activeness of their journey. And then we have the sense of mystery this idea of the unknown adding to this feeling of adventure when we have to seek the brook if still it ran and the verbage we seek emphasizes their desire for some sort of playful ask appeared. We have the semicolon Brook if still a tram that emphasizes the standard wreck and then we have this reluctance and not loft to have excuse to go and they are eager to leave their daily routine or the chores and enjoy nature and but they’re reluctant in a sense to have to actually eventually return to this reality and because the autumn Eve was fair though chill because the feeds were always the parentheses of the chill is important because it indicates that the scene is not completely fair that it’s not completely enjoyable that there is a harshness to what they’re experiencing in nature. And then we have the word because which gives the sense of ownership being in this rural setting the feeling content comfortable and see if and you can see that continued from because to the fields were are that there’s this sense of comfort in isolation. Especially through this ownership of that person on the personal through no in there that really emphasizes it or rather the collective pruning that emphasizes it then we have the alliteration of by the brook and this creates this peaceful serene song of the brook. And then we have our and the collective protonic ian team but the alliteration of woods were there and the alliteration emphasizes through reassuring comforting feeling.
And then we have that slowly dawned behind the trees the barren boys with like the leaves with like the birds with like the breeze and again you can see that use of acid and through it that emphasizes their excitement at going on this adventure and we also have the alliteration of Barn boys birds and breeze emphasizing the harshness of this rural landscape and the depiction of the harsh landscape though is juxtaposed to the children’s reaction to it the fact that it does bring them joy. And then the boy obviously a boy is a mean branch of a tree the repetition of with it– is really important because it does to pick this landscape of something sinister and barren it’s bereft of life and vitality. However their joy of being with one another their familiarity with each other and with the scene they’re experiencing allows them to enjoy this experience. They’re not afraid of their surroundings and there is joy to be had in isolation in a rural environment.
Within the wood, we paused and you’ve got more alliteration emphasizing their joyous reaction despite the barren and sinister landscape. There’s surgery here slows the peace and reinforces the playful interaction with the woods and the moon. Then we have the simile like gnomes which is childish but adds to the fairy-like fantasy element of the adventure that the children are going on and a child’s imagination is an evoked here. It really emphasizes that this is tool from the perspective of a child because of all this fantastical imagery.