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If the hatred truly were "beyond words" it could not have found expression,let alone expression in a poem. Here, form has "disciplined" the hatred towhich the lines allude into the obviously very different mood and feeling that we get fromreading the poem itself. The playful rhyme of "gutter"to"utter" has the peculiar subsidiary grace of suggesting the guttural tone inwhich the poem thinks of itself as being uttered. In his "'Letter' to Frost says that, so long as we have form to go on, we are "lost tothe larger excruciations" (740). "Beyond Words" helps us seewhat he means. Resources of rhythm and rhyme transform darker, chaotic emotions into thelighter, altogether more manageable one of what Frost liked to call "play." In"Beyond Words" this "play" is also felt in the tension between theiambic rhythms that underlie the lines and the more agitated rhythms of the spokenphrases. The only true "materialist," Frost explains in "Education byPoetry," is the person who gets "lost in his material" without a guidingmetaphor to throw it into shape (C724). Here, a metaphor comparing iciclesalong a gutter to an "armory of hate," together with the sonic equation of"gutter"to "utter," essentially tame a troubling experience."Beyond Words"offers an example of how hatred can find a profitable,even redemptive outlet—just as an urge toward self-relinquishment may find its outletin "Stopping by Woods on a Snowy Evening."

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But a more august, at least a more haughty personage, presents himself boldly to our censure; and assuming the title of a philosopher and man of morals, offers to submit to the most rigid examination. He challenges, with a visible, though concealed impatience, our approbation and applause; and seems offended, that we should hesitate a moment before we break out into admiration of his virtue. Seeing this impatience, I hesitate still more: I begin to examine the motives of his seeming virtue: But behold! ere I can enter upon this enquiry, he flings himself from me; and addressing his discourse to that crowd of heedless auditors, fondly abuses them by his magnificent pretensions.

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But see, propitious to my wishes, the divine, the amiable , the supreme love of and men, advances towards me. At her approach, my heart beats with genial heat, and every sense and every faculty is dissolved in joy; while she pours around me all the embellishments of the spring, and all the treasures of the autumn. The melody of her voice charms my ears with the softest music, as she invites me to partake of those delicious fruits, which, with a smile that diffuses a glory on the heavens and the earth, she presents to me. The sportive , who attend her, or fan me with their odoriferous wings, or pour on my head the most fragrant oils, or offer me their sparkling nectar in golden goblets. O! for ever let me spread my limbs on this bed of roses, and thus, thus feel the delicious moments, with soft and downy steps, glide along. But cruel chance! Whither do you fly so fast? Why do my ardent wishes, and that load of pleasures, under which you labour, rather hasten than retard your unrelenting pace? Suffer me to enjoy this soft repose, after all my fatigues in search of happiness. Suffer me to satiate myself with these delicacies, after the pains of so long and so foolish an abstinence.

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is only one vice, which may be found in life with as strong features, and as high a colouring as needs be employed by any satyrist or comic poet; and that is . Every day we meet with men of immense fortunes, without heirs, and on the very brink of the grave, who refuse themselves the most common necessaries of life, and go on heaping possessions on possessions, under all the real pressures of the severest poverty. An old usurer, says the story, lying in his last agonies, was presented by the priest with the crucifix to worship. He opens his eyes a moment before he expires, considers the crucifix, and cries, These jewels are not true; I can only lend ten pistoles upon such a pledge. This was probably the invention of some epigrammatist; and yet every one, from his own experience, may be able to recollect almost as strong instances of perseverance in avarice. ’Tis commonly reported of a famous miser in this city, that finding himself near death, he sent for some of the magistrates, and gave them a bill of an hundred pounds, payable after his decease; which sum he intended should be disposed of in charitable uses; but scarce were they gone, when he orders them to be called back, and offers them ready money, if they would abate five pounds of the sum. Another noted miser in the north, intending to defraud his

But see, propitious to my wishes, the divine, the amiable , the supreme love of and men, advances towards me. At her approach, my heart beats with genial heat, and every sense and every faculty is dissolved in joy; while she pours around me all the embellishments of the spring, and all the treasures of the autumn. The melody of her voice charms my ears with the softest music, as she invites me to partake of those delicious fruits, which, with a smile that diffuses a glory on the heavens and the earth, she presents to me. The sportive , who attend her, or fan me with their odoriferous wings, or pour on my head the most fragrant oils, or offer me their sparkling nectar in golden goblets. O! for ever let me spread my limbs on this bed of roses, and thus, thus feel the delicious moments, with soft and downy steps, glide along. But cruel chance! Whither do you fly so fast? Why do my ardent wishes, and that load of pleasures, under which you labour, rather hasten than retard your unrelenting pace? Suffer me to enjoy this soft repose, after all my fatigues in search of happiness. Suffer me to satiate myself with these delicacies, after the pains of so long and so foolish an abstinence.

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Having paid tribute to the dangerous seductiveness of the woods, the narrator seems tobe trying to shake himself back into commonsense reality by invoking his 'promises' ormundane responsibilities. The last line is repeated, however; and while at first it seemslittle more than a literal reference to the journey he has to complete (and so a way oftelling himself to continue on down the road), the repetition gives it particularresonance. This could, after all, be a metaphorical reference to the brief span of humanlife and the compulsion this puts the narrator under to take risks and explore the truthwhile he can. Only a few 'miles' to go before 'I sleep' in death: such a chilling perhaps justifies stopping by the woods in the first place and considering thespiritual quest implicit in the vision they offer. Perhaps: the point is that neithernarrator nor reader can be sure. 'The poem is the act of having the thought', Frostinsisted; it is process rather than product, it invites us to share in the experiences ofseeing, feeling, and thinking, not simply to look at their results. So the most a piecelike 'Stopping by Woods' will offer - and it is a great deal - is an resolution of its tensions: the sense that its conflicts and irresolutions have been givenappropriate dramatic expression, revelation and equipoise.