A Comparative Analysis of Robert Frost and Roo Borson Poetry Works

This essay presents a comparative study of Robert Frost's "Neither out Far nor in Deep" and Roo Borson's "Waterfront," focusing on tone, structure, imagery, and language. While both poems observe individuals interacting with the sea, they employ distinct approaches. Frost's poem delves into the philosophical search for truth, contrasting with Borson's depiction of unawareness amidst natural beauty. The analysis highlights differences in tone, with Borson's informal and detached perspective contrasting Frost's metaphysical and heartfelt approach. The essay also examines the use of imagery, point of view, and structural elements to reveal the poets' unique interpretations of nature and human perception. The essay concludes that both poems offer valuable insights into the human condition and the search for meaning in the world.

COMPARATIVE STUDY OF "NEITHER OUT FAR NOR IN DEEP" BY
ROBERT FROST AND
"WATERFRONT" BY ROO BORSON (With reference to tone, structure,
imagery, language, point of view)
Robert Frost’s “Neither out Far nor in Deep” as well as Roo Borson’s “Waterfront” both
demonstrate the observation and surveillance of persons moving across the sea. Nevertheless, the
poems portray distinctive methods of reproducing their theme. In “Waterfront”, Borson takes on
a moderately informal and unenthusiastic tone headed for the persons beside the verge of sea-
water. Frost’s poem conversely infiltrates the ideologies in the direction of a specific design
despite the fact that it holds metaphysical besides soft hearted values towards the persons
beholding the views by the flank of sea. These poems might reveal the identical focus on the
elements of the subject; nevertheless both adopt diverse tones as well as themes (Geddes, 55).
The theme of “Waterfront” portrayed the unawareness of those encircled through natural beauty
in addition to the magnificence and glorious scenes of objects that encompass them. Robert
“Neither out Far nor in Deep” in contrast, was the folks’ unintelligent probe for “truth” within
the sea. The messages demonstrate an attention-grabbing viewpoint on the composer’s
impressions of individuals by way of the sea, or culture, escaping the custom of devaluation
(Geddes, 753). Borson’s “free verse” is engraved to a certain extent in informal tone, where the
spectator is entirely disconnected from the topic. The language besides the diction is fairly
denotative, supposing the sensation of disregard in the direction of the obliviousness of those
perceived. On the other hand, Frost’s verse monitors a very close-fitting metrical configuration
of “ababcdcdefefghgh,” executing repetition as well as connotative etymology at every line. The
composition is objectively consistent all through the verse, with echoing uncomplicatedness in
the poems brought into being in every section (Harmon, vi-ix).
Execution of irregular line extents with fast-paced rhythm in Borson’s rhyme reawakens more of
an incoherent outpouring when equated to the sympathetically created poetries of “pre-twentieth-
century”. This cadence may confirm to reproduce the pressurized lives of fishermen as well as
“middle-aged women \ in magenta travel dresses, going nowhere” (Geddes, 763-764, lines 9-10).
Each prudently built relationship in Frost’s verse comprises a stressed syllable aimed at a
1 | P a g e

graceful and idealistic rhythm, for instance “sand” (Geddes, 55, line 1) then “land” (Geddes, 55,
line 3).
The “point of view” keeps an eye on a pessimistic and distrustful, resembling to Frosts’ rhyme.
Even though Frost’s standpoint is out-of-the-way, he still gives the impression to desire honestly
that they would cultivate awareness of their unsuccessful exploration in the midst of the waters.
This logical tone emphasizes that “truth” is cannot be set up in the midst of images within the
sea, even so, it portrays in natural life. Frost proposes that the revelations of “truth” are further
expected to be present while making an allowance for whatever we can perceive in its entireness
as accessible: “The land may vary more; \ But wherever the truth may be” (Geddes, 55, lines 9-
10). By relating this further with the physical setting in the direction of the visually un-graspable
and ever-changing waters of the waves, Frost delivers a distinctive assumption of finding reality.
Abundant interpretations of imageries are employed while Frost refers to the replication of “a
standing gull” at the sea (Geddes, 55, line 8). This explanation is substantial, as it remains stress-
free for the observer to visualize the misleading along with ever-changing appearance of the
gull’s mirror image surrounded by the deep’s water. On the other hand in Borson’s verse, the
persons do not seem to be relishing themselves and remain unmindful to the attractiveness that
encircles them. This stands as a substantial divergence from the individuals delighting in the
observation of the sea in Frost’s rhyme. The fishermen at this point are even disconcerting the
sight with a rationality of possession by shrieking towards each other “as if this were their
ocean” (Geddes, 763, line 7). At the expressions-- “women’s bodies lying in the sand are curved
like shells” as well as “seawater spangles like a drink of champagne, Borson uses imagery to
decorate unsurprisingly attractive scenes on behalf of the spectators.
There is particular fascinating choice of sentence structure and expressive command as the verse
advances from exquisiteness to contempt, back to prettiness while the speaker witnesses the
blameless broods by way of their skin “still translucent” (Geddes, 764, line 17). The assortment
of lines as the verse pours charming words in respect to sincere and usual beauty, and revulsion
in addition to animosity to the whole lot that sidetracks from it. The speaker seems to have a
widespread critical view of civilization all together, except the innocence of children, who
remain (always) unspoiled by the desires and customs of society. The term “choice|” in Frost’s
rhyme makes a thought-provoking chance in the latest sections “They cannot look out far. \ They
2 | P a g e

cannot look in deep,” (Geddes, 55, lines 13-14) in which the reverberation modifies from the
termination of each predicament to the commencement of the dual sentences. The verse’s
inclusive tone comprises an exciting viewpoint on the “truth” reproduced in numerous features
of nature as well as existence.
The disparity of these two sections of verse covering the parallel subject matter stands as an
outstanding implementation of appreciative viewpoints that show diverse literary practices. This
harvest self-governing connotations. Borson executes a relaxed yet cynical attitude without the
application of rhyme, yet highlights the natural attractiveness of the folks’ environments along
with the exquisiteness of virtue. Frosts’ verse is considerably more methodical in its structure,
carefully resulting into a distinctive symmetry in repeating upon people’s exploration for reality
(Moqari, 133-135).
3 | P a g e

References
Borson, Roo. “Waterfront”. 20th-Century Poetry & Poetics. Ed. Gary Geddes. 5th ed. Don Mills:
Oxford University Press, 2006. 763. Print.
Frost, Robert. “Neither Out Far Nor In Deep”. 20th-Century Poetry & Poetics. Ed. Gary Geddes.
5th ed. Don Mills: Oxford University Press, 2006. 55. Print.
Harmon, William. "“Neither Out Far Nor In Deep”." Sewanee Review 122.1 (2014): vi-ix. Web.
Moqari, Shaqayeq. "A Critical Revisiting Of Robert Frost’S “Neither Out Far Nor In Deep’’."
International Letters of Social and Humanistic Sciences 58 (2015): 130-136. Web.
4 | P a g e