The Exposed Nest
You were forever finding some new play.So when I saw you down on hands and kneesIn the meadow, busy with the new-cut hay,Trying, I thought, to set it up on end,I went to show you how to make it stay,If that was your idea, against the breeze,And, if you asked me, even help pretendTo make it root again and grow afresh.But 'twas no make-believe with you to-day,Nor was the grass itself your real concern,Though I found your hand full of wilted fern,Steel-bright June-grass, and blackening heads of clover.'Twas a nest full of young birds on the groundThe cutter-bar had just gone champing over(Miraculously without tasting flesh)And left defenseless to the heat and light.You wanted to restore them to their rightOf something interposed between their sightAnd too much world at once--could means be found.The way the nest-full every time we stirredStood up to us as to a mother-birdWhose coming home has been too long deferred,Made me ask would the mother-bird returnAnd care for them in such a change of sceneAnd might our meddling make her more afraid.That was a thing we could not wait to learn.We saw the risk we took in doing good,But dared not spare to do the best we couldThough harm should come of it; so built the screenYou had begun, and gave them back their shade.All this to prove we cared. Why is there thenNo more to tell? We turned to other things.I haven't any memory--have you?--Of ever coming to the place againTo see if the birds lived the first night through,And so at last to learn to use their wings.
Words in this poem
- went n.
- Course; way; path; journey; direction.
- afresh adv.
- Anew; again; once more; newly. [Pref. a- + fresh.]
- defenseless a.
- Destitute of defense; unprepared to resist attack; unable to oppose; unprotected.
Definitions and etymologies from Webster's Unabridged Dictionary, 1913.
About this text
The Exposed Nest is in the public domain. This text is taken from Mountain Interval, Project Gutenberg ebook #29345; the transcription's header, footer and licence were removed and nothing else was changed. You may copy, print and reuse it freely.
Cite as: Robert Frost, The Exposed Nest, in Mountain Interval (1916), text of Project Gutenberg ebook #29345, Laurel, https://laurelpoetry.com/poem/frost-mountain-interval/the-exposed-nest.html, id L02662.
Form and metre
The Exposed Nest is 36 lines in a single stanza. The metre is iambic pentameter, measured from the stress the words themselves fix (confidence 88%). 99% of its stressed syllables fall where the metre puts the beat. The lines average 10.1 syllables. 1 line ends on an unstressed syllable, a feminine ending. 39% of the lines run on without a stop at the line end.
See other poems in iambic pentameter.
Measured by Laurel's pipeline, not copied from a handbook: how stress and metre are counted, how rhyme is lettered, how a drifted rhyme is found. Where the dictionary cannot confirm a rhyme the letter is withheld, not guessed.
Rhyme words, stanza by stanza
The word that ends each line, lettered by the rhyme it makes; a dash is a line whose rhyme the dictionary could not confirm.
- 1 ABACABC-ADDE-E-FFF-GGGH--HII--JKLJLK playA · kneesB · hayA · endC · stayA · breezeB · pretendC · afresh · dayA · concernD · fernD · cloverE · ground · overE · flesh · lightF · rightF · sightF · found · stirredG · birdG · deferredG · returnH · scene · afraid · learnH · goodI · couldI · screen · shade · thenJ · thingsK · youL · againJ · throughL · wingsK
Scansion, line by line
Each line with its syllable count and the stresses the words themselves fix: / stressed, ˘ unstressed, · a syllable the word leaves free and the metre decides. Read against iambic pentameter. How this is done.
| Line | Syl. | Stress |
|---|---|---|
| You were forever finding some new play. | 10 | ··˘/˘/˘··· |
| So when I saw you down on hands and knees | 10 | ·········· |
| In the meadow, busy with the new-cut hay, | 11 | ··/·/˘····· |
| Trying, I thought, to set it up on end, | 10 | /˘········ |
| I went to show you how to make it stay, | 10 | ·········· |
| If that was your idea, against the breeze, | 10 | ····˘/···· |
| And, if you asked me, even help pretend | 10 | ·····/˘·˘/ |
| To make it root again and grow afresh. | 10 | ····˘/··˘/ |
| But 'twas no make-believe with you to-day, | 10 | ····˘/···· |
| Nor was the grass itself your real concern, | 10 | ····˘/··˘/ |
| Though I found your hand full of wilted fern, | 10 | ·······/˘· |
| Steel-bright June-grass, and blackening heads of clover. | 11 | ·····/˘··/˘ |
| 'Twas a nest full of young birds on the ground | 10 | ·········· |
| The cutter-bar had just gone champing over | 10 | ·/˘····/˘· |
| (Miraculously without tasting flesh) | 10 | ˘/˘˘˘··/˘· |
| And left defenseless to the heat and light. | 10 | ··˘/˘····· |
| You wanted to restore them to their right | 10 | ·/˘·˘/···· |
| Of something interposed between their sight | 10 | ·/˘·˘/···· |
| And too much world at once--could means be found. | 10 | ·········· |
| The way the nest-full every time we stirred | 10 | ·····/˘··· |
| Stood up to us as to a mother-bird | 10 | ·······/˘· |
| Whose coming home has been too long deferred, | 10 | ·/˘·····˘/ |
| Made me ask would the mother-bird return | 10 | ·····/˘·˘/ |
| And care for them in such a change of scene | 10 | ·········· |
| And might our meddling make her more afraid. | 10 | ··//˘···˘/ |
| That was a thing we could not wait to learn. | 10 | ·········· |
| We saw the risk we took in doing good, | 10 | ·······/˘· |
| But dared not spare to do the best we could | 10 | ·········· |
| Though harm should come of it; so built the screen | 10 | ·········· |
| You had begun, and gave them back their shade. | 10 | ··˘/······ |
| All this to prove we cared. Why is there then | 10 | ·········· |
| No more to tell? We turned to other things. | 10 | ·······/˘· |
| I haven't any memory--have you?-- | 10 | ·/˘/˘/˘˘·· |
| Of ever coming to the place again | 10 | ·/˘/˘···˘/ |
| To see if the birds lived the first night through, | 10 | ·········· |
| And so at last to learn to use their wings. | 10 | ·········· |
The reader shows the same poem with its rhymes coloured and a stress row above each line, the notes beside their stanzas, and any word's definition on a tap; the analysis page takes the whole book apart. How every part of this site was made.