Analyses of Robert Frost's Poem Mending Wall
简单的深邃——罗伯特·弗罗斯特诗歌创作艺术管窥
Deceptive Simplicity： The Art of Robert Frost＇s
Poetry
作者： 黄宗英[1]
作者机构： [1]北京联合大学应用文理学院,北京100083
出版物刊名： 北京联合大学学报：人文社会科学版
页码： 34-39页
主题词： 简单的深邃;隐秘性;罗伯特·弗罗斯特
摘要：弗罗斯特诗歌的魅力在于它貌似自然、直接、简单，而实际上根本就不像其表面上看的那么自然、直接、简单。
人说他的诗歌清新明了，但诗人似乎存心让天真的读者迷恋于他那明朗透亮的外衣，以至无法透视诗人所配戴的微妙假面。
在弗罗斯特看来，诗歌创作的最高境界在于其形式的简单而内容的深邃。
在追求诗歌创作艺术中这种简单深邃的“隐秘性”过程中，弗罗斯特筑起了一座在美国诗歌史上风格瑰异的艺术大厦。
Robert .Frost全英文简介
Robert said:
• “all poetry is a reproduction of the tones of actual speech.”
诗乃实际说话音调之复制品。
• “Writing free verse is like playing tennis with the net down.”
让我们在狂飞乱舞的鸟中， 幸福
当蜂群之上突然传来他们的 声音
如同针尖般的鸟嘴，流星挤 进来
又冲过中间空气中安静的一 朵花
For this is love and nothing else is love, The which it is reserved for God above To sanctify to what far ends He will, But which it only needs that we fulfil.
b. Rejected the revolutionary poetic principles of his contemporaries（同代人）, he used traditional forms such as the blank verse(无韵诗) , plain language（明语） of rural New Englanders.
因为这才是爱，而别的都不 是
爱为上面的上帝而保存，因 为爱
他可以把自己尽情地神化 可是这 Boy’s Will. 1915.The first book of Frost’s poems.
A Prayer in Spring
Oh, give us pleasure in the flowers today; And give us not to think so far away As the uncertain harvest; keep us here All simply in the springing of the year.
Robert Frost《未选择的路》分析
结构Structure:Four stanzas of five lines\\Rhyme scheme: ABAAB\\Four stressed syllables each line, varying on iambic tetrameter base(Iambic tetrameter is a meter in poetry. It refers to a line consisting of four iambic feet. The word tetramater simply means that there are four feet in the line. Iambic tetremeter is a line comprising four iambs.)\\\Symbolism 象征手法:For example, “road” on one hand refers to natural road; on the other hand, it refers to the road of life.\\\\Conclusion:The Road Not Taken is full of philosophical overtones（暗示、弦外之音）.This poem should be read as a warning. Man should consider a lot before making choices and reflect over the choices he has made to discover “all the differences”.\\ The poem tries to achieve a universal understanding. In other words, there is no judgment, no specificity, no moral. It allows all readers from all different experiences to relate to the poem. \\The Road Not Taken tells about life choice. Man’s life is metaphorically related to a journey filled with twists and turns. One has to consider a lot before making a wise choice. Though the diverged roads seem identical, they actually lead to different directions, which symbolize different fates.\\第一段;Two roads diverged in a yellow wood,\\And sorry I could not travel both\\And be one traveler, long I stood\\And looked down one as far as I could\\To where it bent in the undergrowth--\\\\分析：“road”is a symbolic use. From the surface meaning,it means the natural road as he can see;from the deep meaning, it means the road of life penetrated in human beings.\\“sorry” expresses the strong feeling of regret. He could only travel one road, and in return to give up the other, which is similar to human choice.\\“long” and the last two lines indicate the poet’s hesitation to which road to take;whereas he still couldn’t make a decision.\\\\Summary: In the first stanza, the speaker describes his position--the conflict between the common easy path and the exceptional challenging one.here are two roads he would like to try out both, but doubts he could do that. \\\\第二段：Then took the other, as just as fair,\\And having perhaps the better claim,\\Because it was grassy and wanted wear;\\Though as for that the passing there\\Had worn them really about the same, \\ 分析：Why it is the “better claim” may be that “it was grassland wanted wear”, which means the path appears to be kept naturally.\\The fact that Frost took this path over the more popular, secure one indicates the type of personality he has, one that does not want to necessarily follow the crowd but do more of what has never been done, what is new and different.\\The path Frost took appears to be different from the other one, but as he thinks about it, he realizes that the two roads have the same characteristics.\\Summary:Frost reports that he decided to take the other path, because it seemed to have less traffic than the first.\\But then he goes on to say that they actually were very similarly worn. \\This stanza reflects our human’s choice. At first you seem to be confused by two perspective facets, finally you realize that whatever choices you make, the results are the same.第三段：And both that morning equally lay\\In leaves no step had trodden black.\\Oh, I kept the first for another day!\\Yet knowing how way leads on to way,\\I doubted if I should ever come back.\\Summary of Stanza 3：The third stanza continues with the cogitation（仔细思考）about the possible differences between the two roads.He claims that maybe he would come back and also walk the first one sometime, but he doubted he would be able to, because in life one thing leads to another and time is short.分析：Frost realizes that the decision is not just a temporary one and he ("doubtedif I should ever come back." )\\This is his common sense speaking and acknowledging that what he chooses now will affect every other choice he makes afterward. Once you have performed an act or spoken a word that crystallizes（具体化，计划成型）who you are, there is no turning back and it cannot be undone.\\ “I” not only refers to Frost himself, but also has a universally symbolic meaning. Each time when a person comes to the point where he has to make a choice, it is new to him, somewhere he has never been and he tends to feel as though no one else had ever been there either.第四段：I shall be telling this with a sigh\\Somewhere ages and ages hence:\\Two roads diverged in a wood, and I—\\I took the one less traveled by,\\And that has made all the difference.\\\分析：“sigh” has two references:a sigh of regret and a sigh of relief.\\“difference”:If it is the relief sigh, then the difference means Frost was glad he took the road he did; if it is the regret sigh, then the difference would not be good, and he would be sighing in regret.\\ The last two lines are ironic:the choice made little or no difference at all, the speaker's protestations to the contrary. \\\Summary of Stanza 4:At the end of the poem the regret hangs over the poem. \\Frost realizes that at the end of his life, "somewhere ages and ages hence", he will have regrets about having never gone back and traveling down the roads he did not take. \\To this man, what was most important, what really made the difference, is that he did what he wanted, even if it meant taking the road less traveled. If he hadn't, he wouldn't be the same man he is now.\\\。
罗伯特·弗罗斯特诗歌的隐喻分析与意象图式的构建
学教育2049."罗伯特•弟罗斯特诗歌的隐喻分析与宣象图式的构建◎魏护婷内容摘要:诗人用诗歌抒情言志，而隐喻作为诗歌重要的表现形式之一，其解读和意义的构建受到了越来越多语言学家的重视。
本文以认知语言学中的概念隐喻理论(CMT)和概念整合理论(MIT)为基础，从罗伯特•弗罗斯特的三首诗A Girl's Garden^Leaves Compared with Flowers和Desert Place中选取了在其诗歌中常见的意象，分析了诗歌中的隐喻,探讨了隐喻含义的构建过程，继而建立了“植物一人”和“动物一人”这两个意象图式框架。
关键词:概念隐喻理论概念整合理论罗伯特•弗罗斯特隐喻koff和Johnson的概念隐喻理论诗歌中充满了隐喻，因而诗歌被称为隐喻式语言，可以说诗歌与隐喻是互为依存的关系叫语言学自上世纪起就对隐喻进行研究,从单纯的语用学视角到现今的认知语言学视角，有关隐喻的理论进一步得到发展。
其中最著名的作品之一是Lakofif和Johnson合著的《Metaphors We Live by》一■书，在其中,他们提出了概念隐喻理论(Conceptual Metaphor Theory,即CMT)。
他们认为隐喻是概念系统中从一个认知域“源域”向另一个认知域“目标域”的跨域结构投射。
在“A即B”这一形式中,B则可以被称为概念隐喻。
源域通常相对具体，而目标域则更加抽象。
这一理论的提出使隐喻突破了以往的修辞学特性叫2.Fauconnier的概念整合理论随着研究的深入，人们发现CMT并不适用于所有隐喻，尤其是一些新奇的隐喻,这是由隐喻的特点所决定的。
不同于含义相对固定的转喻，隐喻含义常常会随着人们的需要而发生改变，进而出现新的隐喻，最常见的如漫画、宣传广告等,但概念隐喻理论却无法解读这一类隐喻。
为了弥补这一不足，语言学家Fauconnier提出了概念整合理论(Conceptual Integration Theory,BPCIT)O在该理论中，之前的"源域"和“目标域”的双域单向映射被发展成了四个心理空间(mental space)的双向映射，即输入空间1(Inputl)、输入空间2(Input2)、类属空间(Generic Space)和合成空间(Blending Space)o从两个输入空间中提取出共有的相似部分构成类属空间,而两个输入空间的成分再经过选择性的跨空间映射整合成合成空间。
罗伯特佛罗斯特诗歌研究
Abstract: Robert Frost (1874-1963), one of the most revered, honored and popular American poets of 20th century, is well known for his peculiar poetry. Creation in convention is the fundamental feature of his poetry, which means his poetry is traditional in general, but creative both in content and style. Frost is skilled at arranging form and rhythm and making good use of some rhetorical devices, such as metaphor, symbol and exaggeration. His poetry is on the theme of conflicts among human, nature and society and people‟s attitudes toward them. His meditative poetry, which aims to illustrate a certain moral or intellectual problem by means of a central (and often simple) event or image, just belongs to this kind. This paper aims to analyze the relationship among human, nature and society to explain his thoughts by analyzing his blank verse “Birches” from the angle of his biography, his meditative poetry, features of his meditative poetry,critical reviews on “Birches”, and detailed analysis of “Birches”.Key Words:Meditative Poetry；conflicts among human，nature and society；analysis；“Birches”On Meditative Poems of Robert Frost—Reviews On Robert Frost’s “Birches”罗伯特佛罗斯特诗歌研究罗伯特佛罗斯特《白桦树》回顾1. Introduction: Biography and Meditative Poetry of Robert FrostRobert Frost (1874—1963), born in San Francisco, was among the most respectable of American writers. Just as Robert Graves‟ observation: “Frost was the first American who could be honestly reckoned a master-poet by world standards……Frost won the title fairly, not by turning his back on ancient European tradition, nor by imitating its successes, but by developing it in a way that at last matches the American climate and the American language.”Frost was well—k nown over the world as a famous “farm poet” of New England, who succeeded in exploring complex attitudes about modern society by means of the description of beauty and simplicity of country life. Frost affirmed the relationship of his poetry to a fundamental pastoral idea with such statement :“Poetry is more often of the country than the city……poetry is very, very rural-rustic .‟‟Meditative poetry, which refers to the use of description of scene or event to symbolize feeling and reveal reason, may be well taken as a vivid echo of Frost as a “Farm Po et ‟‟. Readers may get a fresh impression of Frost who often sets beautiful natural scenes of New England farm as background, such as river, grassland, field, and so on. In his meditative poetry, characters and situations serve to illustrate an intellectual idea. He describes natural scenes with vivid imagery, admires ordinary rural activities and examines the problems of modern society. Pointing out that humanity must constantly struggle against confusions and temptations, Frost states that poetry is just a “momentary stay against confusion.‟‟ One may get a profound understanding toward his belief and his meditative poetry on the basis of analyzing his blank verse“Birches”.2. Features of Robert Frost’s Meditative PoetryAs a pastoral poet, Frost‟s poetry is full of images of natural scenes and its language is quite brief and plain. Frost aims to transfer profound meaning by means of common scenes. His poetry enjoys its own specialties. Creation in convention is the fundamental feature of his poetry, which means Frost is good at revealing modern theme by means of conventional materials and approaches of poetry. In addition, Frost is good at using some rhetorical approaches, such as metaphor, symbol, and so on. Furthermore, Frost is particularly noted for his mastery of form and rhythm. Frost‟s poetry generally can be classified into four types, which share their ownfeatures respectively—Dramatic Poetry, Satiral Poetry, Philosophical Poetry and Meditative Poetry, of which the last is the subject of this paper.Meditative Poetry refers to the use of description of scene or event to symbolize feeling and reveal reason. It is typical of using concrete object to express abstract idea with optimistic tone. Meditative poetry aims to illustrate a certain moral or intellectual problem by means of a certain event or image. The blank verse “Birches”just belongs to this type. The blank verse used in this mode is more measured, improved, and harmonious. The subject of the poem is always observant, immediate and local. The meditations of Frost always circle around a fictional and usually contemporary speaker or scene. In his meditative mode Frost is attempting with all his escapes and blind ways to answer a few fundamental questions.3. Critical Reviews on Robert Frost’s “Birches”Blank verse “Birches”is a famous representative of Frost‟s meditative poetry, which sets up a combination of thoughts from fragments of memory and imagination. Its vividness and bittersweet meditation help make it one of Frost‟s most popular poems. The poem moves back and forth between two visual perspectives: birch trees are bent by boy‟s playful swinging and by ice storms, the two perspectives being somewhat puzzling. Here are some reviews on this poem proposed by several famous critics.3.1 Review on the precious balance between transcendental imagination and common sense realityFrank Lentricchia stated: “…Birches‟begins by evoking its core image against the background of a darkly wooden landscape.”He examines the precious balance resto red b etween the claims o f co mmo n sense reality and id eality.George F.Bagby said: “The poem is set at that time of the natural year which most suggests imaginative exciting: the spring time in the imagination‟s life when it begins to arouse itself from winter lethargy.”He argues that the birches are permanently “bowed”by the ice storm, but remain suggestive of aspiration and he emphasizes a lot on the balance of human aspiration and earthly reality.Mordecai Marcus examines Frost‟s pursuit of the ideal life rather than a yielding to death and the continual balance between reality and ideality.3.2 Review on Frost’s belief that Earth is the right place for loveGeorge Montiero said: “M an‟s acts upon nature have their own meaning and beauty, and nature‟s beauty is somehow enhanced when man has worked an effect upon nature.” He thinks that Earth is the right place for love.Jeffrey Meyers stated: “…Birches‟ connects poetic aspiration and physical love.”He believes that Earth, not Heaven, is the right place for love. Because love should be physical and examined against the realities of life.Floyd C.Watkins summarized: “ …Toward Heaven‟, but never to, never all the way. Frost considers a moment when the soul may become completely absorbed into a union with perfection. But he is earth bound, limited and afraid. He would like toget away from earth for a while than he thinks of “fate”-rather than God.” He insists on the belief: “Earth is the right place for love.”3.3 Review on Frost’s poetic technique of knowing how to use metaphor is analogous to knowing how to ride birchesGuy Rotella stated: “One of Frost‟s comments comes to mind: the aim of metaphor is …to revive you to your ideas of free will.‟He thinks that the poems‟imagination with metaphors which aim to reveal events restores free will without covering the truth, and by using metaphors which reveal fact and dream, the poet is no longer beaten back and he recovers the freedom of the boy swinging the birches.3.4 Review on the theme of sweetness of solitude and isolationPatricia Wallance said: “What are sometimes felt as limits are not barrier at all and Frost‟s intelligence is always part of feelings in his best poems”He thinks that “Birches”fills us with the recognizable delight of a world lived only by the self, a world made by the self, at the same time that it acknowledges the limits and allurement of that satisfaction.4. Detailed Analysis of Frost’s “Birches”Blank verse “Birches” is one typical example of Frost‟s meditative poetry, which reveals the commonality of Frost‟s poem —a poem begins in delight and ends in wisdom.4.1 Analysis of ContentThis poem starts from the fantastic description of the effect ice storms have on birches and ends in the reasonable proverb that we may have dreams and imaginations, but have to come back to reality. Seeing the birches, the poet recalls his happy childhood and feels weary of hard real life, and then he falls into deep thought.This poem can be classified into three parts as follows:Part 1 (line 1-20) The picture of birch trees bent by ice storms.“Birches”begins by evoking its core image against the background of a darkly wooden landscape (line 1-5):The easily changed quality of the birch tree catches the poet‟s attention and arouses his meditation. Perhaps young boys don‟t bend birches, but they do swing them and thus bend them for a short time. “The birch tree across the lines of straighter darker trees” subtly introduces the theme of imagination and will against darker trees. “Straigh ter, darker trees” stand for the freedom out of human control, and “birch tree”stands for the order and control missing from ordinary experience. However, the quality of the birches is not complete and the poet admits this fact that the ultimate shape of mature birch trees is the effect of objective natural force (ice storm), not human activity.Following stanza1, then almost a third of the poem describes how ice storms bend these trees permanently, unlike the action of boys (line 6-13):The poet is attracted by the scene of lovely ice covering on the birch trees, not only the scene itself interests the poet but the strange transformation from ideality toreality arouses his imagination: “you‟d think the inner dome of heaven had fallen.”Certainly there is no doubt that the belief involved here that the inner dome has been smashed clearly pleases the speaker, and the poet seems not to have restricted himself but to have been free. In this stanza, “shed crystal ice shells” suggests the turning of the ideal into everyday reality.In birches, Frost doesn‟t emphasize the natural disaster but his intelligence as a poet (line 14-20):This scene combines images of beauty and distortion. The trees bowed to the level of the bracken suggest pain, which is immediately highlighted by the strange image of girls leaning their hair toward the sun. For Frost, the simile is the perfect figure of comparison, through which a kind of virtue emerges: for a brief moment the poet has gone beyond the reality and allowed the fictional world to be filled with imagination. It is at such moment in Frost‟s work that the strategies and motives of his poetry are revealed. In Frost‟s playful mode, he is willfully seeking to explore his imagination.Part2 (line 21-40) Fictive vision of boy’s swinging birches. (line 21-27):The cleverness in Frost‟s strategy now emerges. While claiming to have paid respect to the strict standards of transcendental truth in his turning to the ice-loaded branches, what he has actually done is to change the natural scenes, which he has seen into the language of fictions. When he turns to the desired vision of the young boy swinging birches, he is actually turning from one kind of fiction to another kind of the human will riding over a easily influenced external world. That the poet would prefer to have some boy bend the birches becomes a symbol for controlled experience, as contrasted with the destruction of ice storms. He emphasizes much the theme of the imaginative man who, essentially alone in the world, either makes it or doesn‟t on the strength of his creative resources. Patricia Wallance said: “But when we are weary of such considerations, Frost offers us poems written in the spirit of solitude, with all of her delights. Therefore, the popularity of “Birches” isn‟t at all accidental to Frost‟s central concerns. “Birches”truly is representative of Frost, but in it privacy is his choice, and the sweetness of the poem is genuine, the sweetness of solitude. Because “Frost‟s intelligence is always part of feeling in his best poems.”And then the poet indulges into the full desired vision of the boy‟s swinging birches in the poem‟s opening lines (line 28-40):Here the poem shifts into a generalized description to account for why the boy is so charming. He never expresses his feelings, either joy, achievement, or adventure. At the same time, something holds us back and makes us adhere to a fact of the boy‟s completeness and purpose in his sort. An air of devotion, purpose, and fulfillment wanders about “one by one”, “over and over again”, “not one ……not one”. That he has power, he subdues and conquers evoke the mastery and freedom of one who could know “all there is”about life. “He learned all there was/To learn about not launching out too soon” tells us that the swinger of birches, boy or poet, must know powers and the strength of the trees and the strength of metaphor.Part3 (line 41-59) Fall into meditation.One figure seems to imply another——he image the farm young boy swingingup ,out ,and down to earth again recalls the boyhood of the poet (line 41-47): This stanza starts with a more personal tone. The speaker claims to have been such a youthful swinger of birches. “The considerations”he is weary of are conflicting claims that leave him disoriented. For Frost the “pathless wood” carries a complex of meaning elsewhere. The upward swinging of the boy becomes a imagination‟s swing away from the touchable, dark woods, a swing away from the “straighter darker tress” and a swing into the absolute freedom of isolation. One needs only to note that the notion of “riding”, already figurative in “birches”. Frost insists that a poem “runs……from delight to wisdom. The image is the same as for love, like a piece of ice on a hot stove the poem must ride on its own melting.”Compared with the upward swinging of the boy, the downward movement of imagination to earth, on contrary, is a movement into community, engagement, love……the two actions play together (line 48-54):The desire to “get away from earth”, importantly modified by “awhile”, shows a longing for the ideal or perhaps for the imaginative isolation of the birch swinger. The famous closing lines of the poem clearly move toward a compromise of human aspiration and earthly reality. The poet hopes that “no fate”will “willfully misunderstand him. “And half grant what I wish and snatch me away/Not to return. Earth is the right place for love”. At some level of his consciousness the pleasurable activity of “swing birches” has transformed itself into the more general term “love”.The proper role of the mind or spirit is seen in the last stanza, not as a conqueror of the natural, not as a transcending of earth, but as an essential part of a larger process of devotion, “launching out” and return. (line 55-59):The poet suggests leaving earth for a while, however, He wants to be put down again toward earth, but the pursuit of the ideal by going sounds like death and Frost acknowledges his apology quickly. The mature speaker of “Birches”, on the other hand, knows how to use natural fact to reach its uppermost limits, to climb “Toward heaven, till the tree could bear no more”. The imagination here again proves the boy‟s freedom and autonomy by means of dominating natural fact. At the end of “Birches”a precious balance has been restored between the claims of a redeeming imagination in its extreme, transcendent from, and the claims of common sense reality, In this poem, Frost persists a renewed pursuit of the ideal in life rather than a yielding to death, He believes that Earth is the right place for love, and the two forces between imaginative perception and natural fact are capable of cooperating to achieve meaning. And his main pursuit is the continual balance between reality and ideality.4.2 Analysis of Artistic FeaturesGenerally speaking, Frost‟s poetry has the following peculiar features:To begin with, Creation in convention is Frost‟s fundamental artistic feature. In other words, Frost is skilled at making good use of traditional poetic materials and forms to explore modern theme. Its tone is often optimistic and its language is quite brief and fresh. His famous poems reflect his belief through the explorations of profound philosophical issues, the beauties and terrors of nature, conflicts between individual desires and social obligations, and the value of labor. Randall Jarrel stated: “Frost‟s virtues are extraordinary. No other poet of his time has written so well aboutthe actions of ordinary man: His wonderful dramatic monologues or dramatic scenes come out of the knowledge of people.”In addition, metaphor and symbol are two typical rhetorical devices of Frost‟s poetry. That means Frost is fond of expressing a profound concept by means of concrete objects or events. “Stopping by Woods on a Snowy Evening”, “the Road Not Taken”, “Mending Wall” and “Birches”are all good examples. By means of these approaches, Frost aims at showing the conflicts among human nature and society in people‟s long journey of life. He summarizes: “The “image a poem makes. It begins in de light and ends in a clarification of life.” And we may keep in mind that the trees and the boy‟s actions are described metaphorically and that there are also described metaphorically in terms of crazed enamel, broken glass, and inner dome of heaven in …‟Birches‟‟.C.M.Bowra observed: “Frost is for many reasons an unusual figure in the contemporary scene. His gifts are different. He is quite happy not to hint but to describe, to present not complete states of mind but simple emotions and moments of vivid insight into ordinary things. At the same time he has evoked some truly adequate techniques which secures those quiet and yet delightful effects with his domain.”Furthermore, showing the conflicts among human, nature and society in people‟s life is a basic theme of Frost‟s poetry. C.M.Bowra observed: “Frost‟s poetry is concerned not merely with his own corner of New England but, strictly and accurately, with what he actually knows of it. He builds his verses on a precise observation of common things and common sights. His realism of poetry is not a form of display but comes from a pleasure in the manifold aspects of life in farms and fields.”At last, good mastery of form and rhythm is one of the prominent features of Frost‟s poetry. He structures his verse in strict metrical, rhyme, line and stanzaic arrangements and connects with such conventional forms as blank verse, sonnets and lyrics. Robert Graves stated: “Frost reminds us that poems, like love, begin in surprise, delight and tears, and end in wisdom. Frost collects his knowledge undeliberately, like burrs that stick to your legs when you walk through a field.”5. ConclusionAs one type of Frost‟s poetry, meditative poetry certainly shares these common features. Meanwhile, it also enjoys some peculiarities, for example, its tone is often optimistic, and its language is quite colloquial, plain and fresh. It is full of imagination and transcendence. The blank verse “Birches”is one typical example, which builds a mix of considerations from fragments of memory and fantasy. As analyzed above, it is inevitable for us to get a further understanding of Frost‟s view that a poem begins in delight and ends in wisdom. In addition, we may persist in such a fact that life, although full of hardships and obstacles, is genuinely sweet and delightful. Therefore, we should bravely confront with reality and hardships to pursue our ideal and the gist of life.AcknowledgementsIt was a great pleasure writing a B.A thesis. Many people have given me support and help in the process of writing the paper.Special thanks must first go to my dear teacher, associate professor Mrs. Ma Qin for her unswerving support for my paper writing. I would like to acknowledge and thank her for her heartfelt ideas on how to choose the topic, how to conceive the outline, how to organize structure, how to use the materials I have searched, and how to use related writing techniques to accomplish a successful thesis, for her invaluable guidance and critical review of the early drafts of the materials, for her hopeful insights and suggestions for revision during the development of my paper-writing. Her commitment of time and critical review has gone well beyond what I could hope or expect.In addition, I would like to give my many thanks to my dear teacher, Professor Li Lian for her dedication to my paper checking, for her invaluable comments and suggestions for keeping my paper on track.Furthermore, I would like to thank my good friends who have helped me a lot with my information and paper polishing.Finally, I want to give my thanks to my mother university and all the teachers in English college, who have cultivated me to be a qualified undergraduate.Bibliography[1] Robyn V. Y oung. Poetry Criticism. V ol.1. Gale Research Inc. Detroit London, 1991.[2] Robert Faggen. A Cambridge Companion to Robert Frost. Shanghai Foreign Language Educational Press, 2001.[3] Modern American Literature. V olume 111.P-2 Fifth Edition, St.James Press.[4] Encyclopedia of World Literature in the 20th Century. Volume 2: E-K.St.James Press, 1999.[5] StevenR. Serafin, Alfred Bend ixen. The Continuum Encyclopedia of American Literature. Continuum/New Y ork. London, 1999.[6]RonaldGottesman, Laure nceB.Holland, etc. The Norton Anthology of American Literature. V olum2. Part1. W.W.Norton and Company. New Y ork, 1979.[7] 柯岩. 《古今中外文学名篇拔萃（外国诗卷）》. 青岛出版社，1990年2月版.[8] 程爱民.《20世纪英美文学论稿》.上海外语教育出版社，2001年版.[9] 张玉书.《20世纪欧美文学史》.北京大学出版社，1995年9月版.[10] 刘守兰.《英美名诗解读》.上海外语教育出版社，2002年版.[11] 贺年.《世界经典诗歌》.内蒙古人民出版社，2003年2月版.BirchesWhen I See birches bent to left and rightAcross the lines of straighter darker trees,I like to think some boy‟s been swinging them.But swinging does n‟t bend them down to stayAs ice-storm do. Often you must have seen them 5 Loaded with ice a sunny winter morning,After a rain. They click upon themselvesAs the breeze rises, and turn many-coloredAs the stir crack and crazes their enamel.Soon the sun‟s warmth makes them shed crystal shells Shattering and avalanching on the snow-crust-Such heaps of broken glass to sweep awayY ou‟d think the inner dome of heaven had fallen. 13 They are dragged to the withered bracken by the load,And they seem not to break; though once they are bowedSo low for long, they never right themselves:Y ou may see their trunks arching in the woodsY ears afterwards, trailing their leaves on the groundLike girls on hands and knees that throw their hairBefore them over their heads to dry in the sun 20 But I was going to say when Truth broken inWith all her matter-of-fact about the ice-storm.I should prefer to have some boy bend themAs he went out and in to fetch the cow-Some boy too far from town to learn baseball,Whose only play was what he found himselfSummer or winter, and could play alone. 27 One by one he subdued his father‟s treesBy riding them down over and over againUntil he took the stiffness out of themAnd not one but hung limp, not one was leftFor him to conquer .He learned all there wasTo learn about not launching out too soonAnd so not carrying the tree awayClear to the ground, He always kept his poiseTo the top branches, climbing carefullyWith the same pains you use to fill a cupUp to the brim, and even above the brimThen he flung outward, feet first, with a swish,Kicking his way down through the air to the ground 40 So was I Once myself a swinger of birchesAnd so I dream of going back to beIt‟s when I‟m weary of considerations,And life is too much like a pathless woodWhere your face burns and tickles with the cobwebsBroken across it, and one eye is weepingFrom a twig‟s having lashed across it open 47I‟d like to get away from earth awhileAnd then come back to it and begin overMay no fate willfully misunderstand meAnd half grant what I wish and snatch me awayNot to return, Earth is the right place for love:I don‟t know where it is likely to go betterI‟d like to go by climbing a birch tree. 54 . And climb black branches up a snow white trunkToward heaven, till the tree could bear no moreBut dipped its top and set me down againThat would be good both going and coming backOne could do worse than be a swinger of birches 59白桦树挺直、黑黑的树排列成行，只见白桦树却弯下身子，向左，也向右，我总以为有个孩子把白桦“荡”弯了可是荡一下不会叫它们一躬到底再也起不来。
佛罗斯特诗歌分析
3. Some students do not have computers. So it is not convenient for them to search for the data.
6. This is the first time for us to write an essay about a poet. So we have little experience.
SHale Waihona Puke lutions1. We search for the interrelated data through consulting the teachers .Our teachers give us the way to writing.
Materials Collecting
• Group discussion • Discussing the thesis • Classification and narrow the scope of topic • Considering the correctness and availability of
Analysis
1. Define the meaning of black tone 2. Analysis of Robert’s black tone via symbolized images with his experience 3. Analysis of Robert’s black tone via his poems which were chosen
论中国古典诗歌意象和意境英译——基于萨皮尔-沃夫假说
最新英语专业全英原创毕业论文，都是近期写作1 试从大卫•科波菲尔分析狄更斯的人道主义精神2 埃兹拉庞德意象派诗歌解析：以《在地铁站里》为例3 寻找自我——从女性意识角度解读《觉醒》4 以《新时代汉英大辞典》为例析中文谚语英译5 浅谈商务函电的写作6 《荒原》中的死亡与重生7 The Bluest Eye: Cultural Hegemony and Spiritual Dissimilation8 《紫色》中黑人女性意识的觉醒和成长9 从中西思维方式的差异看《梦》及其英译本中主语的确定10 从灵床到坟墓：浅谈中西丧葬风俗之异同11 伊丽莎白．贝内特与简．爱的婚姻观之比较12 欲望与命运－－《推销员之死》与《旅行推销员之死》中主人公的悲剧根源之比较13 汉语语速性别对比研究14 英语新闻的互文性研究15 从文化差异角度看中式菜单英译16 概念隐喻在英语专业词汇学习中的应用17 中国英语与中式英语之比较18 诀别武器之缘由——再读《永别了，武器》19 Ezra Pound’s Attempt to Find a Savior in His Poetry Writing20 浅析好莱坞英雄主义中的传统英雄和反英雄形象21 中美体育报道的比较22 浅析《小妇人》中马奇太太的教育方式23 探究傲慢与偏见的独特魅力24 从《喜福会》看美国华裔女作家身份探求25 商务英语谈判的语言技巧26 解析《紫色》中妇女意识的形成27 英美国家政治委婉语的文化解读28 The Otherization of China in The Woman Warrior29 “合作学习”策略在英语教学中的应用30 论顺句驱动在英汉同声传译中的运用31 汽车广告中的中西文化差异研究32 《魔戒》中的现实主义初探33 An Analysis of Characterization of O-lan in The Good Earth34 隔离与异化：福克纳短篇小说中的人际关系研究35 汉语喜剧小品中的模因现象研究3637 功能对等视角下记者招待会古诗词翻译策略研究38 论“老友记”中的幽默翻译39 大众文化视角下的另类古典小说-斯蒂芬妮•梅尔《暮光之城》之畅销解读40 苔丝悲剧的自身原因分析及其启示4142 An Analysis of Harmonious Coexistence Between Nature and Civilization in WutheringHeights From the Perspective of Eco-criticism43 谈双关语的翻译44 《等待野蛮人》中的寓言式写作手法45 Landscape Poems in Seven-character Quatrains and Sonnets46 《潜鸟》女主人公——皮格特•托纳尔悲剧的探析47 汉英“龙”文化浅析48 中国人和美国人特征的比较49 从文化价值观对比研究中美企业管理模式的差异50 初中英语词汇教学法研究综述51 试析与地理环境有关的英语成语及其文化内涵52 论《睡谷传奇》中的幽默元素53 从文化的角度理解《喜福会》中的母女关系54 浅析美国高等教育的创新55 How to Avoid Chinglish on English Writing of Senior High School Students56 Analyses of the Morels’Oedipus Complex in Sons and Lovers57 Rhetorical Art and Chinese-English Translation Suggestions of Business Transaction Correspondence58 小说《珍珠》中象征主义的运用59 英汉语复合词结构特征比较探析60 文化差异对英语学习的影响61 论英语新闻标题中修辞的汉译62 从英语演讲的修辞运用看语言性别差异63 从大学校训看中西方大学文化差异64 汉英谚语中关于文化价值观的比较65 在文化教学中提高英语学习者的跨文化交际能力66 英文电影名称翻译中文化顺应的影响67 试析英汉颜色习语折射出的中西文化异同68 语境理论在初中英语词汇教学中的应用69 习语及习语的汉英翻译70 《虹》的生态女性主义解读71 An Analysis of Hamlet’s Delay of Revenge in Hamlet72 试论盖茨比对其梦想生活的追求73 Two Different Images of the Heroines in the Novel the Age of Innocence74 网络流行语翻译评析——“神马都是浮云”个案分析75 浅析公示语的翻译76 The Analysis of Cultural Differences between Chinese and English Animal Idioms77 《请买票》的生态女性主义解读78 产品说明书的翻译技巧79 从自私基因论分析《伊索寓言》的寓意80 论《呼啸山庄》中耐莉丁恩的作用81 《撞车》中美国多元文化主义的分析82 显现的被动•隐现的自我——《看不见的人》中被动语态的身份建构功能研究83 《鲁滨逊漂流记》－－世纪典型的殖民主义叙事文本84 The Comparison of the Chinese Spring Festival with the Western Christmas Day85 从语境角度谈文学作品翻译中人物描写的语用对等问题86 中国文化特色词的英译——以《阿Q正传》的两个译本为例87 浅析《理智与情感》中简奥斯汀的婚姻观88 浅析《喜福会》中的母女关系89 网络资源在听力自主学习中的作用研究90 浅析哈利波特中的女巫形象91 成功智力理论对英语素质教育的启示92 外语学习焦虑与口语成绩的相关性研究93 中美文化中面子理论的对比分析94 青少年的心理发展特点—从心理学角度解析《麦田里的守望者》95 《老人与海》中词语修辞格的运用96 用陌生化理论阐述《红色手推车》的悲剧色彩97 她们的自我选择—解读简奥斯汀傲慢与偏见中女性的婚恋观98 从弗洛伊德的精神分析理论浅析《道林格雷的画像》中的主要人物99 提高中学英语口语教学的有效方法100 解析《拉帕西尼之女》中贝雅特丽丝101 从广交会现场洽谈角度论英语委婉语在国际商务谈判中的功能与应用102 探析《红字》中齐灵渥斯的恶中之善103 论国际商务非礼貌言语行为104 浅析动植物词汇中的中英文化差异105 从曼诺林角度研究圣地亚哥形象106 论《英国病人》中角色的自我认知107 叶芝：无望的爱情，多变的风格108 从叶芝的作品分析其精神世界的转变109 目的论指导下的英语字幕翻译策略110 分析《雾都孤儿》中的讽刺手法111 从《京华烟云》探析林语堂的女性观112 从译者主体性视角探析《红楼梦》中概念隐喻的翻译策略113 The Language Features of Advertising English114 从关联理论的角度看科技英语翻译115 分析福尔摩斯的性格特征116 从构式视野下对英语图式习语的解读117 《野性的呼唤》中的人性和野性118 论《野性的呼唤》的多重主题119 An Analysis of Cultural Differences between China and English-Speaking Countries through Idioms120 Rhetorical Art and Chinese-English Translation Suggestions of Business Transaction Correspondence121 浅析《德伯家的苔丝》中苔丝的悲惨命运122 论英语谚语翻译123 Modern Views on Marriages in Wuthering Heights124 《觉醒》女主人公-艾德娜追求自我的过程125 盖茨比的悲剧成因分析126 On Eliza’s Independent Awareness in Pygmalion127 Translation of Chinese Dish Names128 爱米丽的悲剧成因—评福克纳的小说《献给爱米丽的一朵玫瑰花》129 人性的苏醒—《香蕉鱼的好日子》主题研究130 论《献给艾米莉的玫瑰》中的悲剧之源131 浅析合作原则在外贸英文电函中的应用132 《请买票》的生态女性主义解读133 《推销员之死》的文化解读134 A Comparative Study of Oedipus Complex in Sons and Lovers and Thunderstorm135 从生态视野解读狼图腾136 The Greatness of Jay Gatsby—An Analysis of the Protagonist of The Great Gatsby137 对中英组织文化差异的跨文化研究138 论小学英语教学中的语法教学139 《爱玛》的婚姻观分析140 The Similarities and the Differences between Gu Hongming and Lin Yutang141 英汉基本颜色词的文化内涵对比及其翻译142 不一样的颤栗—东西方恐怖片的比较143 新闻英语的特征及其翻译144 The Function of Symbols in the Feminist Novel Possession145 功能对等理论视角下《越狱》字幕翻译的研究146 The Glossology and Translation of Rhetorical Devices of Harry Potter147 The Comparison of Marriage Traditions between China and America148 “Terror of the Soul”:On the Gothic Writing Features in Allan Poe’s The Black Cat149 从违反合作原则看电影语言的会话含义——以《最后的武士》为例150 论远大前程中皮普的道德观151 On the Absurdity in Waiting for Godot152 《野性的呼唤》中的自然主义153 从情景喜剧《老友记》浅析美国俚语的幽默效果154 英汉“走类”动词短语概念隐喻的对比研究155 《爱玛》中女性主义的双重复写——论个人意识与阶级意识的冲突156 海明威心中的完美女性――论《永别了，武器》中的凯瑟琳形象157 论《海上扁舟》中的美国自然主义158 浪漫主义天性和实用主义个性之间的冲突——评《呼啸山庄》中凯瑟琳人性的矛盾159 评析杰克伦敦小说《荒野的呼唤》中巴克的象征意象160 A Feminist Perspective to Pygmalion161 中学生词汇自主学习对阅读能力影响初探162 《红字》中霍桑的女性观163 伍尔芙的人生经历对其小说创作的影响164 论修辞格在英语广告中的运用165 从《红字》看霍桑对清教主义的批判与妥协166 《灿烂千阳》中女性人物的忍耐，斗争和重生167 从语言功能考察汉语公示语英译168 中英新闻标题的差异及翻译方法169 浅析《汤姆叔叔的小屋》写作技巧170 从语用角度和文化角度浅谈隐喻的翻译171 通过巴丝谢芭看哈代的宿命论172 中外服装品牌英文标签语言的跨文化研究173 论《看不见的人》黑白文化矛盾体174 《傲慢与偏见》中的婚姻观175 On Sister Carrie’s Broken American Dream from the Perspective of Psychology 176 从大学校训看中西方大学文化差异177 Women’s Roles in the Family Based on the Bible178 量词“片”与“piece”的语法化对比研究179 企业网络营销策略分析180 影响英语词汇发展的言外因素181 班德瑞曲名汉译策略之解析182 《呼啸山庄》中希斯克利夫的人物性格183 体验式教学模式在初中英语阅读教学中的应用184 浅析海尔看中国名牌战略实施现状及关键因素185 析《麦田里的守望者》霍尔顿•考尔菲德的性格特征186 《二十二条军规》中关于军规的控制及反控制187 从成长教育理论视角解读奥利弗•退斯特的生活经历188 源于真爱的结合：简爱的婚姻对当代人的启示189 塞林格《麦田里的守望者》的逃离与守望190 从《老人与海》看海明威的硬汉精神191 浅谈电影名称的英汉互译192 《汤姆叔叔的小屋》中伊万杰琳形象分析193 《哈克贝里·费恩历险记》中哈克和吉姆的人物形象分析194 The Environmental Influence on Emily Brontë and "Wuthering Heights"195 论中国古典诗歌意象和意境英译——基于萨皮尔-沃夫假说196 《飘》中斯佳丽的性格特征解读197 中英日委婉语语言特征198 从跨文化的视角分析美国动画“辛普森一家”中的习语现象199 《老人与海》中的和谐关系200 从适应与选择角度看公示语翻译方法。
12 美国文学ROBERT FROST
Frost’s poetic theory
• He emphasized on the dramatic qualities of poetry. • He believed that all poetry is essentially metaphorical. • He insisted that poetry cannot be forced into being. • He thought that poetry serves as a means of giving patterns to man’s existence.
The impact of Marxism, Freudianism and European modern art on American modern literature: Between the mid-l9th century and the first decade of the 20th century, there had been a big flush of new theories and new ideas in both social and natural sciences, as well as in the field of art in Europe, which played an indispensable role in bringing about modernism and the modernistic writings in the United States.
• From 1897 to 1899,attended Harvard College as a special student but left without a degree.
高二英语上学期Unit4 A garden of poems单元复习 试题
高二英语上学期Unit4 A garden of poems单元复习[教学内容]高二英语第二册〔上〕Unit 4 A garden of poems[教学要求]1、掌握本单元的单词，词组与句型。
2、学会几句常用口语：I’m interested to read some Shakespeare’s sonnets.我有兴趣读点莎士比亚的十四行诗。
I’ve never heard of Robert Frost, so I’m very interested in his poems.我从没听说过罗伯特·弗罗斯特，所以我对他的诗很有兴趣。
I think it (will be ) too difficult to write a sonnet.我想写一首十四行诗太难了。
I don’t know much about John Milton except his “Paradise Lost〞.我除了他的“失乐园〞，对约翰·弥尔顿不甚理解。
3、语法：过去分词作状语。
[知识重点与学习难点]一、重要单词：poem poetry poet intention recite pattern dialogue sort fantasy grammar glory sonnet absence district isle atmosphere introduction embrace tale shade extraordinary idiom crow mood apart insane essay recommend contribute二、重点词组：play with …玩要……，与……一起玩call up 唤起，调动，打stand out 出类拔萃，突出come into being 出现，形式[难点讲解]1、More than any other form of literature, poetry plays with sounds, words and grammar.诗歌胜过任何其他文学形式更灵敏地运用声音，词汇与语法。
Robert Frost罗伯特·弗罗斯特 ppt课件
森林又暗又深真可羡， 但我还要守一些诺言， 还要赶多少路才安眠， 还要赶多少路才安眠。
Robert Frost罗伯特·弗罗斯特
这首诗的背景充满田园诗歌(pastoral poetry)的 风格。
内容在抒发作者心中矛盾的情绪，因此这首诗又 可以说是一首田园式的抒情诗(pastoral lyric poem)。
我的小马一定颇惊讶： 四望不见有什么农家， 偏是一年最暗的黄昏， 寒林和冰湖之间停下。
He gives his harness bells a shake To ask if there is some mistake. The only other sound’s the sweep Of easy wind and downy flake.
Stopping by Woods on a Snowy Evening 雪夜
Robert Frost罗伯特·弗罗斯特 林畔小驻
Whose woods these are I think I know.
想来我认识这座森林，
His house is in the village though;
林主的庄宅就在邻村,
它摇一摇身上的串铃， 问我这地方该不该停。 此外只有轻风拂雪片， 再也听不见其他声音。
The woods are lovely, dark, and deep, But I have promises to keep, And miles to go before I sleep, And miles to go before I sleep.
最後一行的“sleep”可能象征著「死亡」。这便是这首是更深 一层的含义，同时说明了作者对自然的态度。
The Road Not Taken 未选择的路 黄色的树林中分出两条道，
Robert Frost 的诗篇
Nothing Gold Can StayRobert FrostNature’s first green is gold,Her hardest hue to hold.Her early leaf’s a flower;But only so an hour.Then leaf subsides to leaf.So Eden sank to grief,So dawn goes down to day.Nothing gold can stay.Making MeaningsNothing Gold Can StayExplain whether the title of the poem helped you predict its message.2. Identify four specific things that the poem says cannot, or did not, ―stay.‖3. Think what the first buds of leaves look like in spring, and explain what line 1 means.4. Explain the natural process described in line5.5. What Biblical event is alluded to in line 6? What state of mind or situation might ―Eden‖symbolize here?6. What different ideas might ―gold‖ symbolize in the poem? Why can’t gold stay—or do you disagree?7. Show how rhyme and rhythm contribute to this poem’s compactness and completeness. How do alliteration, slant rhyme, and echoing sound effects contribute to the poem’s tightly woven unity? Once by the PacificRobert FrostThe shattered water made a misty din.Great waves looked over others coming in,And thought of doing something to the shoreThat water never did to land before.The clouds were low and hairy in the skies, 5Like locks blown forward in the gleam of eyes.You could not tell, and yet it looked as ifThe shore was lucky in being backed by cliff,The cliff in being backed by continent;It looked as if a night of dark intent 10Was coming, and not only a night, an age.Someone had better be prepared for rage.There would be more than ocean-water brokenBefore God’s last Put out the Light was spoken.Making MeaningsOnce by the Pacific1. Describe the scene presented in the poem. What does the scene remind the speaker of?2. Explain what you think the speaker means by ―a night of dark intent /. . . not only a night, an age‖ (lines 10–11). Whose ―intent‖ is he referring to?3. Who do you think is the ―someone‖ who ―had better be prepared for rage‖ (line 12)? Whose ―rage‖?4. Besides ocean water, what else might be ―broken‖ during that rage?5. ―Put out the light‖ is something anyone might say on an ordinary evening at home. How does the use of this casual, domestic phrase make the poem’s message even more chilling? What would you say that message is?BirchesRobert FrostWhen I see birches bend to left and rightAcross the lines of straighter darker trees,I like to think some boy’s been swinging them.But swinging doesn’t bend them down to stayAs ice storms do. Often you must have seen them 5 Loaded with ice a sunny winter morningAfter a rain. They click upon themselvesAs the breeze rises, and turn many-coloredAs the stir cracks and crazes their enamel.Soon the sun’s warmth makes them shed crystal shells 10 Shattering and avalanching on the snow crust—Such heaps of broken glass to sweep awayYou’d think the inner dome of heaven had fallen.They are dragged to the withered bracken by the load, And they seem not to break; though once they arebowed 15So low for long, they never right themselves:You may see their trunks arching in the woodsYears afterwards, trailing their leaves on the groundLike girls on hands and knees that throw their hair Before them over their heads to dry in the sun. 20But I was going to say when Truth broke inWith all her matter of fact about the ice storm,I should prefer to have some boy bend themAs he went out and in to fetch the cows—Some boy too far from town to learn baseball, 25 Whose only play was what he found himself,Summer or winter, and could play alone.One by one he subdued his father’s treesBy riding them down over and over againUntil he took the stiffness out of them, 30And not one but hung limp, not one was leftFor him to conquer. He learned all there wasTo learn about not launching out too soonAnd so not carrying the tree awayClear to the ground. He always kept his poise 35To the top branches, climbing carefullyWith the same pains you use to fill a cupUp to the brim, and even above the brim.Then he flung outward, feet first, with a swish,Kicking his way down through the air to the ground. 40So was I once myself a swinger of birches.And so I dream of going back to be.It’s when I’m weary of considerations,And life is too much like a pathless woodWhere your face burns and tickles with the cobwebs 45 Broken across it, and one eye is weepingFrom a twig’s having lashed across it open.I’d like to get away from earth a whileAnd then come back to it and begin over.May no fate willfully misunderstand me 50And half grant what I wish and snatch me awayNot to return. Earth’s the right place for love:I don’t know where it’s likely to go better.I’d like to go by climbing a birch tree,And climb black branches up a snow-white trunk 55 Toward heaven, till the tree could bear no more,But dipped its top and set me down again.That would be good both going and coming back.One could do worse than be a swinger of birches.Making MeaningsBirches1. Which passages of this poem do you think are especially interesting or true to life?2. Describe the scenario that the speaker imagines when he sees birch trees. What realistic objection to his idea does he recognize in lines 4–5? What ―matter of fact‖ does ―Truth‖ break in with in lines 5–10?3. Find at least three examples of metaphor and onomatopoeia in the poem.4. Two strong similes give the poem a richness that is both imaginative and the result of close observation. What are these similes?5. What does the playful activity of birch swinging seem to symbolize in the poem?6. Summarize in your own words what you think is the moral or message of Frost’s parable about birch swinging. What complex, conflicting attitudes toward life does it reveal?7. In a famous remark about the nature of poetry, Frost said that a poem ―begins in delight and ends in wisdom.‖ Do you agree or disagree that this applies to ―Birches‖? Explain your view, including what you think delight and wisdom mean.DesignRobert FrostI found a dimpled spider, fat and white,On a white heal-all, holding up a mothLike a white piece of rigid satin cloth—Assorted characters of death and blightMixed ready to begin the morning right, 5Like the ingredients of a witches’ broth—A snowdrop spider, a flower like a froth,And dead wings carried like a paper kite.What had that flower to do with being white,The wayside blue and innocent heal-all? 10What brought the kindred spider to that height,Then steered the white moth thither in the night?What but design of darkness to appall?—If design govern in a thing so small.Making MeaningsDesign1. Did did the tone of the poem surprise you? Explain.2. What similes occur in the octave (first eight lines) of this sonnet? How do they affect the tone of the poem?3. Identify the three ―characters‖ of the poem, and tell what is happening to each one. What color is each character? What justifies the poet’s description of these things as―characters of death and blight‖?4. Look up the word character in a dictionary. Explain which definitions of the word Frost might be applying in line 4. How does each definition affect the meaning of the line?5. Describe the rhyme scheme of the poem. In your view, what key words or concepts do the limited rhyming sounds focus on?6. In line 13, the poet answers his own questions with another question. Explain how his final question answers the previous ones. How would you define a ―design of darkness‖?7. In line 14, Frost qualifies his answer with a reservation, beginning with a crucial ―If.‖ What is the reservation that remains in his mind?8. How does the last line affect the whole tone and meaning of the poem?9. How do you think a Puritan writer would have answered the questions Frost asks in this poem? How do you think a rationalist, or deist, would answer them?Neither Out Far Nor In DeepRobert FrostThe people along the sandAll turn and look one way.They turn their back on the land.They look at the sea all day.As long as it takes to pass 5A ship keeps raising its hull;The wetter ground like glassReflects a standing gull.The land may vary more;But wherever the truth may be—10The water comes ashore,And the people look at the sea.They cannot look out far.They cannot look in deep.But when was that ever a bar 15To any watch they keep?Making MeaningsNeither Out Far Nor In Deep1. Why do you think Frost included the words out far and in deep in the poem’s tit le?2. What is the one simile that Frost uses in the poem? How does it affect the scene described?3. In what way are lines 11–12 tinged with irony?4. What might the sea and the land symbolize in this poem? What larger meaning might the ―watch‖ (line 16) take on?5. Comment on the poet’s tone in the last line. Does he admire the watchers for keeping their vigil, or does he feel scorn or pity for their failure to recognize their limitations? Do you have another interpretation? Explain.6. On a literal level, why is it that the people in the poem can look neither ―out far‖ nor ―in deep‖? What more general human limitations might be symbolized by our inability to probe the distance and depth of the sea?Robert Frost was born in San Francisco, California, to journalist William Prescott Frost, Jr., and Isabelle Moodie.[1] His mother was of Scottish descent, and his father descended from Nicholas Frost of Tiverton, Devon, England, who had sailed to NewHampshire in 1634 on the Wolfrana.[citation needed]Frost's father was a teacher and later an editor ofthe San Francisco Evening Bulletin (which later merged with the San Francisco Examiner), and an unsuccessful candidate for city tax collector. After his death on May 5, 1885, the family moved across the country to Lawrence, Massachusetts, under the patronage of (Robert's grandfather) William Frost, Sr., who was an overseer at a New England mill. Frost graduated from Lawrence High School in 1892.[2] Frost's mother joinedthe Swedenborgian church and had him baptized in it, but he left it as an adult.Although known for his later association with rural life, Frost grew up in the city, and he published his first poem in his high school's magazine. Heattended Dartmouth College for two months, long enough to be accepted into the Theta DeltaChi fraternity. Frost returned home to teach and to work at various jobs – including helping his mother teach her class of unruly boys, delivering newspapers, and working in a factory as an arclight carbon filament changer. He did not enjoy these jobs, feeling his true calling was poetry.。
英汉对照-Robert Frost 部分诗选及简介
Robert Frost 部分诗选及简介耶鲁大学公开课现代诗歌讲师介绍：兰顿·哈默是耶鲁大学英语系主任，拥有耶鲁大学文学学士及哲学博士学位。
他是《哈特·克兰和艾伦·泰特：双面孔的现代派》的作者，《哦，我的祖国，我的友人：哈特·克兰书信选》和美国丛书《哈特·克兰诗歌全集与书信选》的编者。
作为古根海姆基金会的一员，兰顿·哈默近期的研究课题为诗人詹姆斯·梅利尔。
兰顿的新诗评论和文学批评文章常常发表在纽约时报书评和其他杂志上，并且他还是《美国学者》的诗歌编辑。
Langdon Hammer, chairman of the Department of English at Yale, earned his B.A. and Ph.D. from Yale. He is the author of Hart Crane and Allen Tate: Janus-Faced Modernism and editor of O My Land, My Friends: The Selected Letters of Hart Crane and the Library of America's, Hart Crane: Complete Poems and Selected Letters. A Guggenheim Fellow, he is currently at work on a biography of the poet James Merrill. His reviews of new poetry and literary criticism regularly appear in The New York Times Book Review and other magazines, and he is poetry editor of The American Scholar.Robert Frost(罗伯特·弗罗斯特1874～1963) PoetBorn: 26 March 1874Birthplace: San Francisco, CaliforniaDied: 29 January 1963Best Known As: American poet who wrote "The Road Not Taken"The poetry of Robert Frost combined pastoral imagery with solitary philosophical themes and was often associated with rural New England. Frost was one of the most popular poets in America during his lifetime and was frequently called the country's unofficial poet laureate. He was farming in Derry, New Hampshire when, at the age of 38, he sold the farm, uprooted his family and moved to England, where he devoted himself to his poetry. His first two books of verse, A Boy's Will (1913) and North of Boston (1914), were immediate successes. In 1915 he returned to the United States and continued to publish poems that were both popular and critical successes. His poems include "Mending Wall" ("good fences make good neighbors"), "Birches," "Stopping by Woods on a Snowy Evening" ("Whose woods these are I think I know"), and "The Road Not Taken." Frost was awarded the Pulitzer Prize four times: in 1924, 1931, 1937 and 1943. He also served as "Consultant in Poetry to the Library of Congress" from 1958-59; that position was renamed as "Poet Laureate Consultant in Poetry" in 1986.Frost read his poem "The Gift Outright" at the 1961 inauguration of John F. Kennedy... Frost preferred traditional rhyme and meter in poetry; his famous dismissal of free verse was, "I'd just as soon play tennis with the net down."【FOUR GOOD LINKS】☆The Robert Frost Web Page/indexgood.htmlBiography, interviews and select poems★Robert Frost: America's Poet/frost/Timeline biography and several of his poems☆A Frost Bouquet/small/exhibits/frost/home.htmlTerrific exhibit from the University of Virginia★Frost in The Atlantic Monthly/doc/prem/199604u/frost-intro1996 profile that includes poems and readings弗罗斯特(Robert Frost)(1874～1963)美国诗人。
Robert_Frost
Robert Frost (1874---1963)Robert Frost is one of America’s greatest poets in the twentieth century and a four-time winner of the Pulitzer Prize. Essentially, he was a pastoral poet often associated with rural New England. Although his verse forms are traditional, he was a pioneer in the interplay of rhythm and meter and in the poetic use of the vocabulary and inflections of everyday speech. His poetry is thus both traditional and experimental, regional and universal. Frost’s importance as a poet derives fr om the power of particular poems. “Mending Wall” demonstrates Frost’s simultaneous command of lyrical verse, dramatic conversation, and ironic commentary. “Stopping by Woods on a Snowy Evening” exemplifies Frost’s ability to combine the pastoral and philos ophical modes in lyrics of unforgettable beauty.罗伯特．弗罗斯特(1874-1963)是在马萨诸塞州劳伦斯上的中学，也在达特第斯学院和哈佛大学读过一段时间。
美国文学鉴赏
1.Analyze the theme of Robert Frost’s poem “Stopping by Woods on a SnowyEvening”. (In your opinion, what was the reason that made the speaker stop by the woods on a snowy evening? What might the woods and snow and dark symbolize? Why can’t the speaker stay longer by the woods to appreciate its mysterious beauty?) Your answer should be at least 300-word longAs a traveler, the poet is attracted by the beautiful scenery in the woods,so he stops to enjoy it, however,as there is still a long way for him to go,lots of unfinished duties waiting for him, he does not have much time to linger on.Though this poem is plain in words, it is profound in meaning and full of symbolic constructs.It comes to the snowy evening. “It is the darkest evening of the year.” The sn ow is cold and the evening dark, all of which indicates that the poet is depressed in his heart. His subconscious wants him to stop, but his “little horse” with the inspiring bells, which is actually a symbol of vitality, urges him to go.Withthear approach to his subjects, readers found it is easy to follow the poet into deeper truths, without being burdened with pedantry. Robert Frost’s “Stopping by Woods on a Snowy Evening” provide us contrasting and sometimes similar glimpses of life. It entails the d esire for rest, perhaps due to the speaker’s feelings of weariness from facing life’s struggles. The poet also explains the tough choices people stand before when traveling the road of life. Sometimes people regret the possibilities of the road not chosen, sometimes people feel proud about the road they have chosen.The reason that made the speaker stop by the woods on a snowy evening that the speaker is a traveler who stops to watch the woods fill up with snow is to observe a scene of natural beauty. The snow, it is a combination both cold and dark, a symbol of the cold at state of poet mind. The wood, the beautiful, deep, symbolizing the sustenance of the poet. Why can’t the speaker stay longer by the woods to appreciate its mysterious beauty? Because in the poem the speaker is in a critical situation where he has to choose between two paths in life. The speaker seeks a life without any pain and struggle but at the end, he has to comply with social obligation, which reflects his responsibility towards the society.2. How do you see Dreiser’s naturalism influencing his work in Sister Carrie? (What is Naturalism? What kind of person is Carrie?) Your answer should be at least 300-word long.Naturalism was a term created by the French novelist, Emile Zola. He believed that people were not really free. Rather their lives, opinions and morality were all controlled by social, economic and psychological causes. American Naturalism is a more advanced stage of realism toward the close of the 19th century．The American naturalists accepted the more negative implications of Darwin's theory and used it to account for the behavior of those characters in literary works who were conceived as more or less complex combinations of inherited attributes，their habits conditioned bysocial and economic forces．At that time, America were undergoing the industrial revolution, which pushed the economy and social reformation to a high speed developing rate. Money-making had been the central pursuit. Carrie is the typical figure in that social background, who is struggling for her own hopeless life. Carrie Meeber, an ordinary girl who rises from a low-paid wage earner to a high-paid actress, and George Hurstwood, a member of the upper middle class who falls from his comfortable lifestyle to a life on the streets. They live together for three years more. Carrie becomes mature in intellect and emotion while Hurstwood steadily declines. At last, she thinks him too great a burden and leaves him. Hurstwood sinks lower and lower. After becoming a beggar, he commits suicide, while Carrie becomes a star of musical comedy. In spite of her success., she is lonely and dissatisfied．At that time, the idea of American Dream was prevalent. People were in hot pursuit of vanity and wealth. In the beginning, on the train, Carrie felt ashamed and overshadowed by the well-dressed Drouet. Also, when in Chicago, she refused to tell Drouet her address because of her humble shelter. Plus, Carrie pursues beautiful clothes later. All these provide a sound proof of the naturalistic belief that characters are conditioned by the social environment.From the traditional aspect, Carrie’s behaviors are amoral, and she should end up miserable. Instead she succeeds though feels lonely. Naturalism in literature is a moral and spiritual absolute zero, conceivable but unattainable. Neither Carrie nor Hurstwood earn their fates through virtue or vice, but rather through random circumstance. Their successes and failures have no moral value and his stance marks Sister Carrie as a departure from the conventional literature of the period.。
美国诗人Robert Frost的诗歌赏析
(from North of Boston)
Something there is that doesn't love a wall 有一点什么，它大概是不喜欢墙， That sends the frozen-ground-swell under it, 它使得墙脚下的冻地涨得隆起， And spills the upper boulders in the sun; 大白天的把墙头石块弄得纷纷落： And makes gaps even two can pass abreast. 使得墙裂了缝，二人并肩都走得过。 The work of hunters is another thing: 绅士们行猎时又是另一番糟蹋： I have come after them and made repair 他们要掀开每块石头上的石头， Where they have left not one stone on a stone, 我总是跟在他们后面去修补， But they would have the rabbit out of hiding, 但是他们要把兔子从隐处赶出来，
Appreciation of Frost’s Poetry
(from Mountain Interval )
Two roads diverged in a yellow wood, And sorry I could not travel both. And be one traveler, long I stood And looked down one as far as I could To where it bent in the undergrowth;
那天清晨落叶满地， 两条都是未经脚步践踏的小径， 呵，留下一条路等下次再走 但我知道路径延绵没有尽头, 恐怕一走就再难回首。
Robert-Frost-及其诗三首的介绍分析(共40张)
Fire & Ice
• 1. Desire \ love & Hatred • 2. Emotion & Reason • 3. Religion & Science • ......
第14页，共40页。
Stopping by Woods on a Snowy Evening
• After graduating from high school in 1892, Frost entered Dartmouth College but soon left to work at old jobs and to write poetry.
• In 1897, he was accepted as a special student by Harvard but withdrew after two years because of his increasing dislike for academic convention. For the next twelve years, Frost made a minimal living by teaching and farming while continuing to write his poems.
• The quest of the solitary person to make sense of the world has become the central theme of all Frost’s collections and made his poetry among the most accessible of modern writers.
• Frost derived inspiration for "Fire and Ice" from "Inferno(地狱(dìyù))",