Mending Wall Annotation

“The real voyage of discovery consists not in seeking new landscapes, but in having new eyes.”
― Marcel Proust
Good morning. Discoveries possess the potential to rework beliefs regarding human experience in the wider world. Each revelation proposes outlooks pertaining to the development of an individual’s worldview. Such developments facilitate growth and understanding in regards to social proceedings. American author Robert Frost explores the mechanics of humanity through his poems. Frost scrutinizes the impacts of metaphysical exploration in Stopping by the Woods on a Snowy Evening. Additionally, he examines individual citizenship in Mending Wall. Similarly, David Willkie comments on the intrinsic need of exploration, through his painting
Columbus at the convent of La Rabida. By exploring philosophical concepts, we as members of society discern how encounters shape the human experience, through modification of perspective.

Metaphysical exploration allows for the deeper analysis of the human psyche. By indulging in intangible expedition, individuals gain clarity of their beliefs. Frost’s Stopping by the Woods on a Snowy Evening explores aspects of intellectual dimensions. The complexity of the human mind is mirrored within this poem. A state of dream-like subconscious is induced by Frost’s use of Iambic tetrameter, as each second word is stressed, mimicking that of a resting heartbeat. This hyper extensive state of reality opens the mind to expansive thinking as detailed by the heavy symbolism present in the motif of the “woods”. The woods are a recurring reference to the speaker’s mind, acknowledging the process of mental self-observation in regards to choice. As the titular signifier suggests, by “Stopping”, the persona is only on the cusp of expedition deeper into his cogitative state. Furthermore, the sibilant onomatopoeia of “sound’s the sweep” and the positive lexicon of “lovely, dark and deep” elucidates the beauty and tranquillity which the persona finds in this transcendental place, despite the danger that the unknown presents. This transfixion within the individual’s own psychological realm is reinforced by the repetition in the closing lines of the piece stating that there’s “miles to go before I sleep”. Moreover, this repetition reiterates the persona’s awareness of his physical presence and mortality, whilst simultaneously existing in a deep psychological state. The speaker faces adversity in the form of a choice between personal constraint or expedition into unexplored spirituality, symbolizing humanity’s constant battle between lust for, and fear of, the unknown. Frost dexterously composed the work in such a way that the ambiguity of his words allows readers to form a personal connection with the text, thus relating it to existential issues in contemporary society. Furthermore, through the understanding of exploring the metaphysical self, society is challenged to realise the potential psychological capacity of each individual. Consequently, humanity is delineated as possessing an innate desire to learn about our cognitive processes, resulting in a changed perspective of the wider world.

Individual citizenship exposes mechanics within the human psyche, allowing individuals to uncover human incentive.
This analysis of social positioning unearths fundamental workings within humanity, facilitating the creation of perspectives regarding civil machinations. Perceptions vary between all individuals as elucidated by Frost’s poem, Mending Wall. The composer applies colloquial repetition with “And” and “But”, to illicit a conversational tone. This vernacularism mimics the mindset of the speaker; however, his causality is juxtaposed by the allegory of “walk the line”. The negative connotations present here is Frost’s contrast of the speaker’s child-like optimism, with overshadowing awareness of growing fearful antipathy. Intuitive emotional response is illuminated through the negative symbolic motif of the “wall” as an instrument of separation. However, Frost employs irony in “I let my neighbour know beyond the hill” to elucidate humanity’s persistence in initiating relationships, even in the event of constructing barriers. Frost comments on society’s reaction to opposing opinions by further illustrating the speaker’s changing impression of the neighbour through the metaphor of “he moves in darkness”. Man invalidates opinions that aren’t considered beneficial to society, yet Frost’s use of the repeated adage “good fences make good neighbours”, causes the audience to broaden their respiratory perceptions. Want of a privatized, ‘fenced’ life emanates negative connotations. However, the audience is challenged to consider the double meaning of the phrase in order to unearth the possible positive implications of creating a boundary. Society reacts to this subjective diversity by reverting to the inherent need to believe in something and consequently feeling threatened when their conviction is opposed. By the exploration into a deeper evaluation of the human psyche, civilisation recognizes its flaws. This exposure allows mankind to re-evaluate their social
standing and consider man’s diverse world perceptions.

Intrinsic need to investigate determines the exploration of one’s existential worth. Humanity as a whole strives to unearth the reasons behind their existence, thus facilitating an opening for examination. Inquiry into one’s purpose allows an individual to determine their own value by fulfilling their innate desire to learn. Wilkie analyses man’s fundamental obligation to ascertain knowledge through his painting Columbus at the convent at La Rabida. This artwork expresses aspects of revelation, highlighted by the vector lines directing focus towards the salient image of the map. Chiaroscuro contrasts the foreground with the background, further alluding to moving away from darkness into an age of enlightenment. Additionally, humanity’s passion for exploration is shown through the symbolism portrayed by the compass. Wilkie extends this notion by involving the audience through use of omission, illustrated by the empty chair. By inviting the audience into the work, Wilkie comments on humanity’s common need to venture into the unknown. The ideals present within this work are attractive to all individuals throughout time. Wilkie’s painting exemplifies society’s inherent inclination to examine the mechanics of themselves and the wider world. This therefore encompasses an interest in macrocosmic uncovering. Additionally, this revelation facilitates an individual’s ability to extrapolate the reaches of their microcosmic value. Consequently, this drives humanity to evoke Renaissance thinking, allowing improved understanding of societal discourse. The elemental desire to explore allows each member of society to determine their existential value, developing their perceptions of individualism. Thus, internal cohesion leads to an improved perceived understanding of the surrounding world.

Each innovation of man expedites intellectual growth. Whilst the outcomes vary, every encounter possesses the potential to reshape humanity’s experience. Individuals consequently progress with a new sense of self coinciding with the information they uncover. This notion is further analysed by literary works such as the existential poetry of Robert Frost. Frost exemplifies man’s metaphysical inquiry, illustrating the challenge that the unknown presents. Furthermore, he explores the mechanics of a society in which humanity craves interaction, yet simultaneously requires separation for the preservation of self-worth. David Wilkie combines these ideas, commenting on mankind’s inherent need to unearth more about the world. These texts exemplify what it means to experience revelation and how it affects both individuals and society as a whole. By the event of exploration, we understand the social constructs that constitute our world and the microcosmic perspective of man is changed.