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Classic and Contemporary Poetry: Explained

POETS ARE BORN NOT MADE, by             Poet Analysis     Poet's Biography

In "Poets Are Born Not Made," Robert Frost delivers a satirical and somewhat sardonic critique of the literary world, particularly targeting the rise of modernist poetry and the commodification of literary talent. The poem, structured as a first-person monologue, explores themes of authenticity, creativity, and the impact of literary trends on artistic expression.

Frost begins by expressing a sense of displacement and disconnection, metaphorically stating that his "nose is out of joint." This opening sets a tone of personal grievance and establishes the speaker's emotional state. The speaker refers to a "father-in-letters," a term that can be interpreted as a literary mentor or an influential figure in the world of letters, who has recently "been brought to bed of another poet." This phrase, evoking the imagery of childbirth, suggests the emergence of a new literary talent under the guidance or influence of this literary father figure. The speaker laments that he is "not nine months old," implying that he feels overshadowed and prematurely dismissed by the arrival of this new poet.

The poem then introduces a twist: the new arrival is not just one poet but "twins this time," and they are "prodigiously united in wedlock." This surreal image serves as a metaphor for the close-knit, almost incestuous nature of certain literary circles and the rapid rise of new literary voices that seem to dominate the scene instantly. Frost advises against visualizing this literal birth of twins, signaling that the true meaning lies in its symbolic representation of the literary phenomenon.

These twins, the new poets, have already made a significant impact by writing their first poems in "vers libre" (free verse) and selling them within twenty-four hours. Frost's mention of "vers libre" is significant, as it highlights a departure from traditional poetic forms towards a more modernist, unstructured style of writing, which was gaining popularity in the early 20th century. The speaker's tone suggests a mixture of admiration and disdain for this quick success, reflecting a tension between traditional and contemporary poetic forms.

The "father-in-letters" is described as the "affluent American buyer," implying that the new poets' success is partly due to the commercial interests of influential patrons rather than purely on artistic merit. This critique points to the commodification of poetry and the influence of market forces on literary success.

Frost further satirizes the new poetic convention by noting its "merit" lies in definitively locating "an emotion in the belly" rather than "scientifically in the viscera at large" or "mid-Victorianly in the heart." This shift signifies a more visceral, raw approach to expressing emotions, contrasting with both scientific detachment and the romanticized sentiments of the Victorian era. The new poets' style embodies a modernist trend towards a more immediate and physical articulation of experience.

The poem concludes with a reflection on the implications of this new trend. The speaker notes that the new poetry voices "a desire to grin / With the grin of a beast more scared than frightened." This animalistic imagery suggests a raw, instinctual response to the world, marked by both fear and resilience. The speaker's final remark, "it is a cinch that twins so well born will be able to sell almost anything they write," underscores the cynicism towards the commercial success of these new poets. The implication is that their marketability, rather than their intrinsic artistic value, ensures their continued success.

"Poets Are Born Not Made" serves as Frost's critique of the literary landscape of his time, emphasizing the tension between tradition and modernity, the commodification of art, and the authenticity of poetic expression. Through his satirical tone and vivid imagery, Frost invites readers to reflect on the true nature of poetic talent and the forces that shape literary success.


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