His neighbors’ father’s clichés are what his neighbor bases his reasons upon, the reasons for the wall which separates them. One day during the spring they meet to mend the walls in which they live. Stones fall off all the time and they range in size from loaves to balls. They try not to see each other and all the neighbor says when he tells him that this is silly is “good fences make good neighbors.�

We keep the wall between us as we go.

“At such times Frost's blank verse recalls "Tintern Abbey," in which Wordsworth describes those "hedgerows hardly hedgerows" in eloquently unruly lines. In any case, here—as at a number of moments in "Mending Wall"—metrical and rhythmical patterns work in a kind of loosely running counterpoint characterized more by "formity" than by "conformity," as Frost might say. By contrast, when Frost imagines the reconstruction of the wall as the two men labor, the rhythm and meter of his lines coincide quite exactly:

Here, end-stopped lines are the rule: grammatical and rhetorical units more or less confine themselves to their prescribed ten-syllable boundaries. And there is little or no rhythmical variation against the basic iambic grid, which reasserts itself in these lines rather as the wall it- self is "reasserted." Other such examples of Frost's metrical dexterity in this poem might be given, but these two suffice to suggest how tightly integrated in "Mending Wall" are form and theme”(Richardson).

“Mending Wall” has many historical references! One of the historical references goes back to Ancient Rome. “The Roman god of boundaries, Terminus, is honored in an annual ritual to reaffirm boundaries and celebrate occasions among neighbors. Many do not understand the purpose of this ritual, yet people want to mark their boundaries with fences and walls”(Montiera). This is a vivid description of the neighbors’ ritual that he has with his wall using his father’s clichés. Another use of the poem was during a famous speech by John F. Kennedy when he ins

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