Robert Frost presented himself as a simple man. For him, the literary circles in London or damp dinner parties in Bracen Boston. He was not at home in academic circles. He left the college twice, citing the need for independence, and although he spent his intermediate and subsequent years of teaching in universities, he was constantly fleeing them, retreating to the farms in the New England countryside. He did not read the book reviews – or so he claimed – and did not write them, and instead it is preferable to allow his poems to find its natural audience, which turned into a wide work. He mocked literary critics and avoided intellectual debate, although he was a great speaker and I would like to tell the stories. He said that his ideal days spent in the countryside, as he walks in long walking, or chatting with his farmers, and appreciated the patterns and colors of their discourse.
The simplicity of his life informed his work. Ascending to fame at a time when the Anglo -American hair was growing and increasingly mysterious, separating the frost itself. A lyric poet inspired by Longfello, describing the difficult life of the rural people – a widow of war, a rented man – and the difficult landscapes they worked to tame. In “Out, Out -“, a poem from 1916, a boy loses his hand to the saw and dies, perhaps shocking; His family, “Since they / were not dead”, move quickly. Some of the Frost poems have a noise quality of tanuous. Others seem to offer their morals in unambiguous phrases. “I took one less travel,” the spokesperson “The Road Not Noted”, and perhaps the most famous Frost poem, after interviewing a thorn in the path. “This has made all the difference.” It was, and they were still poems for all: school students, ordinary readers, greeting cards. One does not need to be aware of literary traditions to read a poem of frost – only, as one poem says, to be “familiar with rural things.”
However, as with most of the Frost’s character, its simplicity was a work, a work that hid the opposite. Frost was a man of messages, a classic, alongside his future wife, Elinor, one of the two high schools participating in his high school, Lawrence, Massachusetts. He was immersed in literary traditions, as well as in philosophy and psychology (he was a great admirer Pollyam James). As an ambition and competitive, he organized positive reviews of his early work and became angry at the negative reviews of subsequent groups. A failed poultry farmer and a homeless home manager has never been commensurate with people who fill his poems.
Poems and deceptive. The verse of frost can be written in a clear, but vague and open language for competing interpretations. Take “stop by the forest in a snow evening”, from 1923, which ends like this:
Are these lines said with gratitude or sadness? Does the speaker appreciate a quiet winter scene or hardly suppress the desire of death? One can ask similar questions about “the road that did not take”: How true is our president, who imagines himself in the future “tell this by sigh”? Is the road choosing any difference at all? It is tempting to understand the poem as fascinated – a “nihilistic group”, as Dan Chiason wrote in this magazine – but as soon as you do so, its exciting end and erection “I” urge you to think that it might be seriously good.
FROST reading is to wonder about the parts of a poem that you must take seriously – and feel its presence on your shoulder, and laugh at your mistakes. “I would like to be deceived.. the Paris review. He suggested, “One can explain everything I said almost.” Through his own account, he operated it with “the proposal, double assumption and features”; He never said anything explicit, and if it seemed to appear, it is justified that doubt. In both his poetry and personal life, Frost was fraudulent, saying something near others, and may remain another. It was like a fun boy described in the beautiful poem “Persians” (1915), and the branches of the bending tree are beyond confession, then allowing them to return to their natural state, all because of his special entertainment. Like his hair readers, we are only along the trip.
Critic Adam Blancit raises experience in many meanings of Frost poems in “Love and Need: Robert Frost’s Life” (Farrar, Strauss and Jiro). Mixing biography and criticism, Plancit explains how the conditions of the peripheral Frost life led to some of his most successful poems. As in the best critical biography, not only follow the inspiration in the real world for a specific work. Instead, it combines Frost’s personal life, literary sources, and the date of publication to enrich our understanding of poems, then use poems to enhance our understanding of life. The result is a comprehensive and elegant study, sometimes, a sudden study of Frost, which appears as a noticeable poet and a convincing but complicated man.
Plunkt is not the first critic to disturb the popular concept of frost as a ruler that governs comfort and inspiration. Intelligent readers were uniting the naive interpretation of Frost’s work for decades. It can be said that this effort began with Lionel Trailing, who, at a party on the eighty -fifth of Frost’s birthday, was the guest of honor that “anything but” a writer “reassures us by confirming the old virtues, simplicity, simplicity and ways of feeling.” Instead, Frost was a “terrifying poet” and a “tragic poet”. (Frost, listening to the audience, looked unconscious. Save, Festival, “The satirical Paean Paean for success,” Learn the night “, alone as a poem as there was at all.
Lawrence Thompson seemed the first major biography of Frost, Lawrence Thompson, taking a braid from these critics. In a three biography of volumes published after the death of Frost in 1963, Thompson emphasized the darkness of Frost, in detailing the poet’s repeated declines and jealous ignition, so that the frost reviewers announced that it would be a “monster of selfishness” and “medium megalomiac”. In contracts that followed, critics and self -bodies pushed this dim width of frost. William H. Britthard, in “Robert Frost: a literary life that has been reconsidered”, since 1993, which has long been the biography of many frost lovers, for the poet’s ingenuity and fun, in his work and in his life. Even when Frost was proud or indifferent, Britthard suggested, one cannot help him but appreciate his intelligence.
Blancit, like Britrchard, fans of Frost in all its forms. All the time, it stresses the multiplicity of the poet, and his ability to show conflicting situations in the same poem, and sometimes in the same line. Plunkt, which explains “Al -Marai”, which is an early poem, explains how it refrains – “You also come” – it can be understood “in at least four ways at the same time”, as “suggestion, insistence, order, normal statement.” Blancit argues , By knowing all possible meanings, it allows us to reach “a mind in nakedness weighs how it means using the phrase, and why it means using it, and what it wants And your needs. ” Reading the line simply as a benign invitation – or on the contrary, as a direct matter – is the point of the point: the poem explores the different ways that people link, instead of insisting on one type of intimate relationship.
“Love and Need” – which takes its title from the Poem of Frost, “Trumpan at the time of mud”, from 1934 – extends in a loose time in a loose time, and we took from the love poems that Frost wrote to Elinor while flirting with subsequent poems such as “The” is an explicit gift, “which he followed Frost is eighty -six years old at the opening of John F. At Amrst College, noting that many readers “preferred to ignore his dark facts”, just weeks before the assassination His mother, who was a teacher, and his younger sister. Noche TRISTE “, author when he was a second year student, is inspired by a book on the Aztest Empire – and the” butterfly “publishing. the Independent in 1894. She followed a long period of por, during which he married, profit four children, and tried his hand in agriculture, and high school science, all the time to write poems but publish a few. In 1912, his family was transferred to England, where Ezra Pound, who defended his work. The book of the first Frost, “The Will of a Boy”, was published in 1913. On the thirty -nine, he finally had the taste of literary success.
In the hands of Blancit, “the will of the boy”, which sometimes sees as one of the most impressive Frost collections, is newly interesting. (In a generally positive review, the pound is called “A Bit Raw”.) Plunktt reveals that the book is a “spiritual biography” similar to the Tennyson “in memoriam ah” (1850), which celebrates the friend of the poet Arthur Henry Halim. There are amazing similarities between the Frost collection and the Tenison poem; Several Frost’s poems directly indicate Canto in the work of Tenison. The difference is that Frost’s poems do not be sad about the friend, but rather the pastoral life that the poet left behind, and mourning, too, his older child, Elliot, who died at the age of three, from cholera, in 1900. “Although it is not a literal story of mourning, The will of a boy “The poems are blurring all the time with a feeling of unsuccessful loss, and the other side is the depth of gratitude.”
Connections Plunkett is considered a valuable literary effects, especially for anyone who is taken in the Frost character. Although Frost sometimes did not remove his literary education – “I did not get a very literary life,” he told Poirier in Paris review An interview-he was a thirsty reader and the owner of many of the well-designed hair amplions, which he considered superior to any literary magazine. (Many critics in the end.) Use the ecclesiastical poems to inspire him. The early poem “Collective Flowers” is engraved on “Carpe Diem”, which is a love song “Night Twelfth Night” by Shakespeare, and the late poem “The Wind and The Rain” condemns something to “Deject: ANDE”. The references collection of Frost was impressive like any modern poet – although his poems, unlike “The Wase” from TS Eliot, did not come with a group of footnotes.
