The ovenbird, a “loud, a mid-summer and a mid-wood bird”, is a meaningful choice by Robert Frost. This bird is not the melodious, spring bird with which everyone associates. Instead of a song, the ovenbird “makes…trunks sound”, he says, he knows and he frames; but he does not sing. Singing would direct away from the theme of a “diminished thing” and console the reader, rather than prepare him for the cruelties of the world, of summer and upcoming fall. As a mid-summer bird, the ovenbird serves as a gloomy reminder that spr

The tone and feeling of melancholy feed into the “embodiment” of the ovenbird in the poem. The loud, “odd-talking song” is played out in the tone, as well as stated directly. Previously mentioned, Frost utilizes phrases such as “he says” or “he frames” to emphasize the unnatural sound of the ovenbird’s call. Another tool, which is used to represent the ovenbird and its song, exists in the rhythm of the poem. When the poem is read aloud, one finds that the poem does not flow well. Frost directly states, “But that he knows in singing not to sing.” Therefore, the odd rhythm stresses the fact that the bird’s song, the poem, is not a song at all; instead, it is that nagging reminder of the diminishing of the seasons, of the diminished world.

Imagery also adds to the poem’s symbolic representation of the ovenbird’s aide to spring’s passing. The washing away of blooms by the summer showers is one painted image. The petal-fall and overcasts portray dreariness that accompany the mid-summer associated with the ovenbird. “Highway du

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