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The first term which may appear into a reader's mind when coping with Robert Frost's "Birches" is remembrance. Every picture in the poem supports the term: the child playing with the Birch, the gliding motions that goes back and forward, the snow painting that the trees profoundly white. "Birches" is an extremely pictorial poem. Its graphics are obviously a profound emotion. There is a fact that can not be omitted: the year 1914, time where the poem was written; World War I. Though that reality won't be taken much into account, so as to create the interpretation in a more personal approach, it is evident that by not leaving this calendar year aside, the poem develops superbly stronger; not only because the remembrance before mentioned takes a profound atmosphere of nostalgia, however because the comprehensive picture provided by the poem additionally takes the following connotation. If a closer look will be taken at the artists that were growing in that year, we find Chagall, Juan Gris and John Heartfield, dad of the photomontage. These musicians normally present in their functions, images (occasionally agglomeration of these) that have to be represented by drawing a line between what is really shown and what is subconsciously implied. With "Birches", Robert Frost suggests another appearance when it comes to art. He's giving the attention of aesthetical contemplation back into nature. He is making his viewers realize that the pictures he is portraying are due to his concentred observation of what he takes him back into his childhood; exactly what takes him from the world of doom, and what is essential, he is revealing those exact characters throughout his poem. If we have a glance into "Birches" metric arrangement, the square foot foot will show itself as the predominate one: When I visit Birches flex to left a.. .