Acquainted with the Night

Acquainted with the Night (1928)

Robert Frost

I have been one acquainted with the night.

I have walked out in rain -- and back in rain.

I have outwalked the furthest city light.

I have looked down the saddest city lane.

I have passed by the watchman on his beat 5

And dropped my eyes, unwilling to explain.

I have stood still and stopped the sound of feet

When far away an interrupted cry

Came over houses from another street,

But not to call me back or say good-bye; 10

And further still at an unearthly height

One luminary clock against the sky

Proclaimed the time was neither wrong nor right.

I have been one acquainted with the night.

1. How many stanzas does this poem contain?
2. What do the numbers to the right of poem delineate?
3. Who is the speaker of this poem?
4. What, in the most literal sense, does the speaker talk about in the poem?
5. Give an example from the poem that illustrates each of the following literary term and concepts:
1. a word possessing connotative significance
2. an image
3. a metaphor (extra credit)
4. a repetition
6. When considering the opening stanza, what words or phrases seem most worth commenting upon?
7. What is suggested by the speaker’s claim that he has “outwalked the furthest city light” (3)?
8. What do you think a “watchman” is? How does the speaker react to him? Why?
9. Describe what happens in lines 7-10. What does this suggest about the speaker?
10. What is the “luminary clock” (13)? What does it do and what does that mean?
11. Overall, what mood is created by the series of images that largely comprise this poem? Suggest at least three adjectives.
12. Is there anything about what the speaker says that suggests his tone is different than this mood? Explain.
13. What does this poem do? What is this poem about?
14. What is the affect of the speaker repeating the first and last lines?
15. Write an analytic paragraph dealing with a basic interpretation of this poem.

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Your Evolving Poem Close Reading Guide

Close Reading Steps, So Far, For Analysis When Reading Poems:

A Recommended, But Not Required, Order of Intellectual and Emotional Processing

1. Read the title.
2. Pause.
3. Allow associations to roll. Let them hang around, but commit to none.
4. What emotional or intellectual connotations might fit with this title? Keep them in mind.
5. Ask yourself: What is this poem going to be about? Literally.
6. Read the poem. Denotation is essential here.
7. Wait...what? 
8. Don't start spazzing out.
9. Ask: How, does the speaker feel about it all? That is, what is the speaker’s general tone about he or she has said? Positive or negative is a good start, but then get more precise, if possible.
10. Ask further: Why did this person bother to write this poem? What (subject, issue) are they trying to say something about?
11. Oh, its a poem about ____________. (I) Alternatively, I still have no idea what this poem is about. Either way, proceed to step #12. If you think you know, it will need to be tested; if you think you don't know, it will need to discovered.
12. Draw a picture of the poem, with a suggestion of chronological order of events...like a film or  comic book sequence. This will help you to…
13. Order and comprehend the literal events, images, details, etc. of the poem.
14. Remind yourself of and summarize in your mind the basic situation. (S) This need not include the climax, conclusion, or resolution.
15. Go to the first detail (D) of the poem that seems like it might be worth explaining something big or even fairly obvious about. This might be an image, an interesting word choice, a particular selection of detail, etc.
16. Realize the significance of that detail. What intellectual or emotional idea or impact does it convey or suggest? Jot down an E right there on the page next to that line, in your drawing, or wherever you take notes.
17. Go to next D of note. What does it suggest? How does it “fit” with the previous D>E? (This is what is known as context!)
18. PAY SPECIAL ATTENTION TO THE SIMILARITY OR CONTRAST BETWEEN THESE D. How do they fit together and what does that mean? What are their differences and what do those contrasts highlight or suggest?
19. Repeat #17-#18 for the rest of poem.
20. Return to step #9. What message about the subject is being suggested?
21. Ask yourself: What D>E specifically backs up my interpretation?
22. What does this poem “do”? Find the right verb. This plus a subject and a suggestion of direction becomes your I.
23. Begin to write analysis.
24. I have suggested beginning with I (#11) or S (#14). This is certainly not necessary, but it allows you to build the rest of the paragraph on the foundation of an idea or a situation. Even if you are lost on I, you should always be able to get S.
25. Remember the Mad Hatter: Proceed chronologically (usually) through poem as your write D>E’s, selecting those D that illustrate the I and/or S you are analyzing.
26. CONTRASTS AND REPETITIONS!!!!!!
27. As you approach the end of your paragraph, the Es should be getting longer and more totalizing....almost like it is flowing into your AC.
28. Work, feel, think, and play towards an AC: What is said, more completely, about the I you have introduced? Think big picture concepts, simple emotional expressions, or observations about society and humanity. Remember, ambiguity, even contradiction or paradox, are often part of this meaning.