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34 pages 1 hour read

After Apple-Picking

Fiction | Poem | Adult | Published in 1914

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Symbols & Motifs

Apples

Traditionally associated with wisdom, sin, and knowledge, the apple embodies various biblical and non-stereotypical representations in Frost’s poems. Instead of stating that the speaker worries, Frost uses unpicked apples to represent the many anxieties and worries plaguing the speaker. The “[m]agnified apples” that “appear and reappear” (Line 18) can symbolize pieces of knowledge the speaker either accepted and remembers or denied. If the reader reads the poem through the lens of an elderly speaker examining their life prior to death, Line 18 may also refer to the way memory can come in bits and starts.

The apples may also represent opportunities the speaker failed to seize when they had the chance. Using a biblical interpretation of the apple, the fruit may represent sin and was the tool the serpent utilized to cause the fall of man (Lines 30-35). As symbols of sin and corruption, the apples “[t]hat struck the earth” (Line 33) represent the fall of humankind after Eve accepted the apple from the Garden of Eden. Essentially unblemished, the apples “not bruised or spiked with stubble” (Line 34) that “[w]ent surely to the cider-apple heap” (Line 35) may represent those who, despite their good intentions and goodwill, never received salvation and were condemned to hell. This further parallels the biblical story of Adam and Eve, who were cast from the Garden of Eden after Eve committed the first sin by eating the forbidden fruit.

The apples in Frost’s poems may also represent moments of youthfulness from the speaker’s past. Given this interpretation, the unpicked apples representmoments the speaker did not appreciate or take seriously. The “[m]agnified apples” that “appear and disappear” (Line 18) correspond to these moments. The “ten thousand thousand fruit to touch” (Line 30) symbolize the plethora of intangible moments forming life, and the apples discarded “[a]s of no worth” (Line 36) connote life’s overlooked moments that harbor more significance than the speaker originally thought.

Sleep

The word “sleep” appears six times throughout the poem. The “[e]ssence of winter sleep” (Line 7) implies hibernation, a hiding away, echoing the woodchuck’s winter experience later in the poem (Line 40). The poem’s somber tone reinforces the idea that sleep symbolizes death. Life is a process resulting in death, and the speaker’s acknowledgement that they were “well / [u]pon my way to sleep before it fell” (Lines 14-15) promotes this idea. In Line 38, Frost twice repeats the word “sleep” as the speaker contemplates what experience they will have with their nightly slumber. This is akin to the way one might contemplate their own death, wondering what experience they will have with death and by what means they will die. In Line 41, Frost uses the phrase “long sleep” at the line’s opening, creating the sense that despite life and the experience it offers, death is not only the final outcome, but also the ultimate, unchangeable variable all life forms share. Line 42—”Or just some human sleep”— more positively and temporarily posits sleep, doing away with ominous associations with death. Since sleep is a natural process occurring in order to heal and rejuvenate, the perceived brevity of “human sleep” and its parallel to the woodchuck’s hibernation state imply resurrection or renewal and the hope of both after death.

The Woodchuck

Frost’s poems often place humankind in juxtaposition with or in close relation to nature. Though only briefly mentioned, the woodchuck is significant: It is the only other living mammal in the poem. As observed by the speaker, the woodchuck’s hibernation coincides with the cycle of life and death, and the speaker empathizes with the woodchuck’s experience as he contemplates his own. Despite being a fellow mammal, the woodchuck is an antithesis to the speaker. Woodchucks presumably do not dream; humans do. Humans do not hibernate as woodchucks do.

Frost’s poems often depict the experiences of those living outside the existential condition, and in “After Apple-Picking,” the woodchuck—despite the speaker's assertion that it “could say whether it’s like his” (Line 40)—represents the outlier, the person who cannot articulate their own experience, desires, and conflicts. The woodchuck’s implied burrowing for hibernation is symbolic of the speaker’s turning inward and spending time with their own thoughts. The most literal reading of hibernation, though, is that it’s an exceptionally long sleep: The speaker is so exhausted they could sleep for a full hibernation period. It can, however, also represent the speaker’s separation from industrialized society as they work in nature. More significant to the theme of the balance of life with death, the woodchuck’s actions may represent the speaker’s turn toward death.

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