Adrienne Rich
Summary of "The Trees"
"The Trees," by Adrienne Rich, is a short symbolic poem focusing on
the movement of trees that are initially indoors but seeking to escape
to freedom in the forest. The trees represent nature but also the
nature of being—womanhood in particular.
What makes this poem unusual is the speaker's attitude towards the
trees. In the first two stanzas there is a definite attachment as the
speaker objectively describes the escape of the trees to their new
environment.
In the last two stanzas the speaker, now a first-person "I," seems to
want to ignore this profound shifting of the trees but paradoxically by
mentioning her own aloofness brings the whole situation into sharper
focus.
The use of simile is clear as the branches of the trees are seen like
newly discharged patients heading for the clinic doors. This portrayal
of the trees as people in need of medical help means the poem cannot
be taken literally.
The poem then is an extended metaphor; the trees are indeed people,
specifically females, females who are in need of healing or having
been healed, are now ready for their true purpose, renewing the
empty forest.
Written in 1963 and published in her book Necessities of Life,
published in 1966, this poem appeared at an important point in
Adrienne Rich's development as a poet and cultural figurehead.
In the same year, she moved to New York with her family and started
to teach, as well as throw herself into political activism, particularly
anti-war protests. Years later she became an ardent feminist and
wrote many poems and essays reflecting her strong political views
and ideas. "The Trees" is influenced by Robert Frost's poem
"Birches," yet it has its own distinct, quiet revolution going on.
Poem Analysis
"The Trees" is a curious poem that demands several read-throughs
before the reader can fully grasp what is happening with both form
and content. The varying line length, unusual syntax and powerful
imagery needs careful handling.
Although enjambment is used throughout to convey a sense of flow
and maintain sense, there are certain lines that cause hesitation for
the reader because of the need for a natural break or pause
(caesura). This adds to a feeling of slight unease which enhances the
idea that this movement of trees is anything but natural.
Since when have trees moved of their own accord? Only in fairy tales,
only in the imagination. But here they are, breaking out of their interior,
be it house, conservatory, greenhouse, or covered veranda. They're
shifting away from domestic confines and out into the forest. This is a
highly significant change.
Why so significant? Well, trees normally make up the forest but until
now it's been empty - for many days and nights. This is symbolic of
certain types of people being left in the dark for too long not knowing
their true identities and where they belong.
Knowing the poet's feminist leanings and yearnings it is safe to
suggest that the forest is the forest of womanhood.
The new forest will take shape very quickly, overnight says the
speaker, pointing towards a sort of sea change in identity, a collective
identity.
All of this action is taking place at night—the change is profound, of
roots and all, the whole tree—note the imagery and sense of physical
movement in the second stanza:
work/disengage/strain/stiff/shuffling/moving
An extra clue in line 14 gives the reader more clarity, that simile like
newly discharged patients surely suggesting that the trees were sick
or unhappy, in need of medical help and healing, but now they're
healed and free to go and live their lives.
The third stanza introduces the speaker, in the first person. Here is a
woman, the reader must presume, writing long letters (to whom?) and
remaining aloof from all this tree action. She doesn't bother to mention
the quiet revolution, or rather, she scarcely mentions it—which means
she does acknowledge it but isn't that surprised by it?
She has seen it coming perhaps, she has known for quite some time
that the trees would one day break out. As this exodus takes place
she can still smell the remains of the trees—like a voice—that turns
into whispers in her own head? The whispers are the last messages of
her old life, soon to be renewed.
In the final stanza the speaker exhorts the reader to listen. She wants
attention. Glass is breaking, a sure sign that this change is serious
and permanent; there may be damage done.
Then the imagery completely takes over, the poem becoming
cinematic as the moon, that symbol of femininity, emotion and
physical change, breaks like a mirror (another symbol of the reflected
former self) the fragmented image lighting up the tallest tree, an oak,
the strongest, most durable of trees.
Literary and Poetic Devices
"The Trees" is a free verse poem of four stanzas, making a total of 32
lines. There is no set rhyme scheme and no regular metric beat
pattern—each line is different rhythmically—and the lines vary from
short to long.
The poem begins with a description of the actions of the trees as they
start to move out at night. This is quite an objective view of the scene,
the first two stanzas going into lots of objective detail.
Repetition (anaphora) occurs in the first stanza (the forest that was
empty), reinforcing the idea that previously there was no life outside.
Take note also of: where no bird/no insect/no sun.
Similes, in the second, third and final stanzas, involve both human and
domestic elements: like newly discharged patients/like a voice/like a
mirror.
Personification is to be found in the first stanza (no sun bury its feet in
shadow), the second stanza (small twigs stiff with exertion/long-
cramped boughs shuffling) and the fourth stanza (The trees are
stumbling forward).
Syntax
Syntax is the way the sentences, clauses and grammar work together
and in this poem there is an uncertainty as the poem progresses.
Some lines end without punctuation, but no true enjambment is in
evidence (lines 2, 3, 4 and 5 for example) suggesting the reader is
free to carry on regardless or, treat the line ending as a natural
caesura (pause).
The first stanza for example is a single sentence with just one comma
at the end of the first line and a full stop at the end of the seventh. In
between is chaos, a quite deliberate ploy by the poet to instill a free if
disturbing flow line to line.
The second stanza is two complete sentences, one short, the other
long. The first three lines use enjambment (sense is continued on into
the next line) but the next several are a mix and require the reader to
affirm a natural caesura (pause) between lines 4/5 and 6/7.
The third stanza is made up of three sentences and is the only stanza
with the true personal voice of the speaker.
Finally, the fourth stanza urges the reader to listen as the trees break
out of their prison. Five sentences of varying length are contained,
which means more pausing for the reader, increasing the drama.
The moon is shining brightly at night. However, the completely moon
is not visible. It has been overshadowed by the branches of the tress.
So only fragmented parts of the moon are visible throught the
branches and leaves of oak trees. These fragments are like the
broken pieces of a mirror.
Answer
In “The Trees,” Adrienne Rich employs extended metaphor to depict
suppressed forces striving for emancipation. The trees confined within
the house symbolize individuals—particularly women—restricted by
patriarchal structures. Their “roots work all night to disengage” from
the veranda floor, suggesting persistent, silent resistance. The moon
“shattered like a mirror” reflects fractured identities and societal
illusion. As branches strain toward the glass and boughs crash
outward, the imagery becomes violent, indicating the intensity of
liberation. The forest, described as empty, awaits reclamation,
symbolizing a natural sphere of autonomy. The poet, writing letters
indoors, contrasts passive observation with active revolt. Ultimately,
the poem dramatizes inevitable transformation: repression cannot
endure, and freedom, though tumultuous, restores both identity and
balance.