I remember our 8th grade English teacher required the entire class to memorize this poem at the beginning of the year. We didn't understand why at the time, but he promised one day we'd understood. He was right.
With the passing years, the poem takes on a very specific meaning to me. This meaning has, in fact, been there since the beginning. The poem has not changed. I have. As I age however, it acquires a more nostalgic note, and tells me about the loss of youth, innocence, and my desire for holding on to the past. I realize how much I have changed from those early days of youth. How much more vibrant, bright, colorful and full of energy I was. My hue has changed. I am no longer "gold" but old. How sad am I? I have failed to adapt. I have failed to let go of so many things we should let go. Some of my friends are gone. Some of my lovers are gone. Some have died and some have just disappeared. Status unknown. They were the flowers of adjacent branches whose fragrance perfumed my life. I find less of me every day.
I completely agree. I think Dana has focused to much on Eden as being a loss of immortality. But many, especially nonreligious people, see the loss of Eden, not as a loss of immortality, but rather as a lost innocence. I'd argue that nothing we do can postpone the inevitability of death, no words or actions can prevent this, so writing about death's inevitability isn't terribly interesting. What we can do, although perhaps not entirely, is beat back the tendency to lose our innocence; and therein lies a beauty that can last a lifetime... although I'd imagine that losing one's children would cause a loss of innocence in even the most optimistic of us.. So if we look at Robert Frost life, after losing so many loved ones, he had become cynical and wrote about the loss of something more valuable than his own life, and that would be seeing the world through the eyes of your youth and the possibilites that encumbers. But in writing about it, he is mourning this outcome. When we are young, we are in some way immortal, not restrained by pessimism. We aren't prone to thinking about what losses lay ahead, but we see the beauty and the possibilities of life. _Stay golden_ , as written in The Outsiders, S.E. Hinton attempts to analyze Frost's poem, and is encouraging Ponyboy to retain his innocence, avoid becoming cynical, and continue to follow his dream, uncorrupted by the world, which if allowed will strip us all of our ability to see the world through a heart of gold. Anyway, I really liked your analysis... it is so nostalgic... which might be where our innocence is hibernating... awaiting rebirth. Thank you!. I hope this message finds you well. Cheers!
Remarkably comprehensive analysis of an inexhaustible brief poem. Along with the shifting temporal implications Mr. Gioia so ably points out, I can't help reading the first iteration of "leaf" in reference to gold leaf, so brightly impressive on first application, so easily worn away to a lesser metal beneath: the scarcely-opened spring leaf, so brightly tinctured, "subsides" to a far more quotidian green. Such, too, is the gilded veneer with which a rapturous dawn paints what will "go down" to a merely wonderful day. And a good decision also to examine the biographical undercurrents. Could the poem also reflect Frost's own concern that his golden poetical powers might soon be on the wane?
Thank you for this clear, comprehensive analysis. How unlikely was it that Frost would meet Thomas, and, encourage him to find his voice as a poet of the English countryside? Such a matter of regret that despite many discussions and arguments, Frost failed to persuade his friend to join him in the US, away from the fatal idiocy of the war in France. Gold, indeed.
Thanks for all that you do, Dana. That said, I hope in the near future you will produce some new videos about poetry. Perhaps one about neglected poets. Edna St. Vincent Millay, Josephine Miles, Louise Bogan, Ann Stanford come to mind.Too often someone who is an excellent poet, but not widely read, falls between the cracks in the world's smooth surface. Edward Thomas' lovely poem, "Adlestrop," is a poem I return to again and again. We can all cite favorite poems by lesser known poets or poems by poets who are anthologized but are remembered for one or two especially remarkable poems. I can however think of only a few people I know who if I asked them to read a poem, any poem, they would respond with enthusiasm. That said, if I asked almost anyone who is not a poet or hasn't an interest in poetry, "they" would likely respond as if I had asked them to "eat bean sprouts," as you have suggested in another of your discussions about poetry. I see little reference to the work of such poets as Jean Follian, Bert Meyers, Ann Stanford, Josephone Miles, Louise Bogan, Edna St. Vincent Millay (almost forgotten these days), and never anything about poet Agnes Lee (see her poems "The Ilex Tree," "The Sweeper," "Mrs. Malooly," and "Old Lizette On Sleep"). The poems are remarkable though there is little else she wrote that is as fine. She died in 1939, the same year W.B. Yeats died. The best of her poetry can be read online at the Poetry Foundation site. I should also mention Benjamin Saltman's contribution to poetry. In 1992, W. S. Merwin wrote, "Benjamin Saltman is a fine poet, a genuine one, which is saying a great deal, because I think that at anytime there is a lot of showy performance and not so much of always rather surprising welling up of the source itself. Lovely plainness, apparent plainness, with that depth beyond it." Poet Reed Whittemore was also fond of Saltman's poetry. I have taken your advice and stopped worrying so much about Saltman's readership or lack of it. That said, my interest in promoting his work was never something I regarded as "tiresome." I have written and remarked that some of us write merely for the pleasure of writing and have no delusions about the kind of readership that some others enjoy, including yourself. I think it was my friend, William Stafford, who wrote: "Writing is a private act, publishing a public act." I'm not suggesting others look at writing as I do. I have, as you know, recruited actors such as Sally Day, Michael Justice, and others to record my poems. I have found the public is more likely to listen to recordings rather than read a book of poems. You have recorded some of your poems. I like your discussion titled "Poetry as Enchantment," during which you examine why poetry is not as popular was it was during the 19th and early 20th Centuries. Be well, Dana.
I love this poem, Dana. I also like the lesser known "A Peck of Gold." I wish however readers here at RUclips would not misquote the poem. The second line of the second stanza should read, "Appeared like "gold" in the sunset sky," not "God." Perhaps some need to read Frost's "Complete Poems" or refer to the Library of America publication of Frost's "Collected Poems, Prose, and Plays," compiled by Richard Poirier and Mark Richardson. The word God does not appear in the poem. It wouldn't make a bit of sense if it had. I was raised Catholic and attended Catholic schools. I've not a thing opposed to the belief in God or any god. I do however become rankled when a poem is misquoted and "A Peck of Gold" is often misquoted. Nick Campbell, Atascadero, CA.
Absolutely beautiful analysis and interpretation. Great work.
I remember our 8th grade English teacher required the entire class to memorize this poem at the beginning of the year. We didn't understand why at the time, but he promised one day we'd understood. He was right.
💖💖💖
With the passing years, the poem takes on a very specific meaning to me. This meaning has, in fact, been there since the beginning. The poem has not changed. I have.
As I age however, it acquires a more nostalgic note, and tells me about the loss of youth, innocence, and my desire for holding on to the past.
I realize how much I have changed from those early days of youth. How much more vibrant, bright, colorful and full of energy I was. My hue has changed. I am no longer "gold" but old.
How sad am I? I have failed to adapt. I have failed to let go of so many things we should let go.
Some of my friends are gone. Some of my lovers are gone. Some have died and some have just disappeared. Status unknown. They were the flowers of adjacent branches whose fragrance perfumed my life. I find less of me every day.
I completely agree. I think Dana has focused to much on Eden as being a loss of immortality. But many, especially nonreligious people, see the loss of Eden, not as a loss of immortality, but rather as a lost innocence. I'd argue that nothing we do can postpone the inevitability of death, no words or actions can prevent this, so writing about death's inevitability isn't terribly interesting. What we can do, although perhaps not entirely, is beat back the tendency to lose our innocence; and therein lies a beauty that can last a lifetime... although I'd imagine that losing one's children would cause a loss of innocence in even the most optimistic of us.. So if we look at Robert Frost life, after losing so many loved ones, he had become cynical and wrote about the loss of something more valuable than his own life, and that would be seeing the world through the eyes of your youth and the possibilites that encumbers. But in writing about it, he is mourning this outcome. When we are young, we are in some way immortal, not restrained by pessimism. We aren't prone to thinking about what losses lay ahead, but we see the beauty and the possibilities of life. _Stay golden_ , as written in The Outsiders, S.E. Hinton attempts to analyze Frost's poem, and is encouraging Ponyboy to retain his innocence, avoid becoming cynical, and continue to follow his dream, uncorrupted by the world, which if allowed will strip us all of our ability to see the world through a heart of gold. Anyway, I really liked your analysis... it is so nostalgic... which might be where our innocence is hibernating... awaiting rebirth. Thank you!. I hope this message finds you well. Cheers!
@@commodoor6549
Well said. Thank you for your response. I enjoyed every line of it.
A very quality analysis Mr. Gioia. Thank you for taking the time to put this video together to share with all of us.
Remarkably comprehensive analysis of an inexhaustible brief poem. Along with the shifting temporal implications Mr. Gioia so ably points out, I can't help reading the first iteration of "leaf" in reference to gold leaf, so brightly impressive on first application, so easily worn away to a lesser metal beneath: the scarcely-opened spring leaf, so brightly tinctured, "subsides" to a far more quotidian green. Such, too, is the gilded veneer with which a rapturous dawn paints what will "go down" to a merely wonderful day.
And a good decision also to examine the biographical undercurrents. Could the poem also reflect Frost's own concern that his golden poetical powers might soon be on the wane?
Thank you for helping us to slow down and be enveloped in this magnificently brief work.
You're a wonderful poet AND teacher. Thank you. "Stay gold, Pony Boy."
Wonderful! Thank you, Mr. Gioia.
Dang, I just thought it meant that no matter how much you want things to stay the same, change is inevitable.
It's about life and how it always finds away to move on
Thanks for the analysis, beautiful to listen ❤
Thank you for this clear, comprehensive analysis. How unlikely was it that Frost would meet Thomas, and, encourage him to find his voice as a poet of the English countryside? Such a matter of regret that despite many discussions and arguments, Frost failed to persuade his friend to join him in the US, away from the fatal idiocy of the war in France. Gold, indeed.
Thanks a lot for your explanation.
What a great analysis. Thank you.
I learned this poem from the outsiders
Nothing "old" [minus the "g"] can stay put; age moves, swooshes. O! Great poem! ~Linette Marie Allen
Beautiful explained ❤❤❤.
Thank you, one of my favorites. ❤️
Wow, impressive summary..very nice.
Thanks for all that you do, Dana. That said, I hope in the near future you will produce some new videos about poetry. Perhaps one about neglected poets. Edna St. Vincent Millay, Josephine Miles, Louise Bogan, Ann Stanford come to mind.Too often someone who is an excellent poet, but not widely read, falls between the cracks in the world's smooth surface.
Edward Thomas' lovely poem, "Adlestrop," is a poem I return to again and again. We can all cite favorite poems by lesser known poets or poems by poets who are anthologized but are remembered for one or two especially remarkable poems. I can however think of only a few people I know who if I asked them to read a poem, any poem, they would respond with enthusiasm. That said, if I asked almost anyone who is not a poet or hasn't an interest in poetry, "they" would likely respond as if I had asked them to "eat bean sprouts," as you have suggested in another of your discussions about poetry. I see little reference to the work of such poets as Jean Follian, Bert Meyers, Ann Stanford, Josephone Miles, Louise Bogan, Edna St. Vincent Millay (almost forgotten these days), and never anything about poet Agnes Lee (see her poems "The Ilex Tree," "The Sweeper," "Mrs. Malooly," and "Old Lizette On Sleep"). The poems are remarkable though there is little else she wrote that is as fine. She died in 1939, the same year W.B. Yeats died. The best of her poetry can be read online at the Poetry Foundation site.
I should also mention Benjamin Saltman's contribution to poetry. In 1992, W. S. Merwin wrote, "Benjamin Saltman is a fine poet, a genuine one, which is saying a great deal, because I think that at anytime there is a lot of showy performance and not so much of always rather surprising welling up of the source itself. Lovely plainness, apparent plainness, with that depth beyond it." Poet Reed Whittemore was also fond of Saltman's poetry.
I have taken your advice and stopped worrying so much about Saltman's readership or lack of it. That said, my interest in promoting his work was never something I regarded as "tiresome."
I have written and remarked that some of us write merely for the pleasure of writing and have no delusions about the kind of readership that some others enjoy, including yourself. I think it was my friend, William Stafford, who wrote: "Writing is a private act, publishing a public act." I'm not suggesting others look at writing as I do. I have, as you know, recruited actors such as Sally Day, Michael Justice, and others to record my poems. I have found the public is more likely to listen to recordings rather than read a book of poems. You have recorded some of your poems. I like your discussion titled "Poetry as Enchantment," during which you examine why poetry is not as popular was it was during the 19th and early 20th Centuries. Be well, Dana.
💖💖💖
Looks to me like a Gruk a danish form given its name by Piet Hein a Danish poet.
I love this poem, Dana. I also like the lesser known "A Peck of Gold." I wish however readers here at RUclips would not misquote the poem. The second line of the second stanza should read, "Appeared like "gold" in the sunset sky," not "God." Perhaps some need to read Frost's "Complete Poems" or refer to the Library of America publication of Frost's "Collected Poems, Prose, and Plays," compiled by Richard Poirier and Mark Richardson. The word God does not appear in the poem. It wouldn't make a bit of sense if it had. I was raised Catholic and attended Catholic schools. I've not a thing opposed to the belief in God or any god. I do however become rankled when a poem is misquoted and "A Peck of Gold" is often misquoted. Nick Campbell, Atascadero, CA.
Sam looks like the guy from saw
2:04
Almost a Tanka
Very incisive