Robert frost个人简介ppt

合集下载

Robert_Frost_PP

Success Abroad
• There he published his first collection of poems, A Boy's Will(1913) followed by North of Boston (1914), which gained international reputation. • Frost met numerous literary figures, including Ezra Pound, Hilda Doolittle, and William Butler Yeats (who tells Pound that A Boy's Will is "the best poetry written in America for a long time").
Tragedy and Depression
• In March 1938, after a long and often difficult marriage, Elinor herself died of heart disease. • In October 1940, Frost's son Carol, feeling himself a failure despite Frost's strenuous efforts to convince him otherwise, committed suicide.
The New American Genius
• 1924 - Awarded Pulitzer Prize for New Hampshire in May. • Receives Honorary Litt.D. degrees from Middlebury College and Yale University. • Gives notice to Amherst of his acceptance of lifetime appointment at University of Michigan as Fellow in Letters.

英美文学欣赏最新版教学课件美国文学Unit 8 Robert Frost

英美文学欣赏（第四版）
An Appreciation of American Literature
Unit 8 Robert Frost
英美文学欣赏（第四版）
作者简介
罗伯特 ·弗罗斯特（Robert Frost， 1874—1963），美国二十世纪最负盛名的伟大诗人。
英美文学欣赏（第四版）
他生于旧金山，在美国西部度过了他的童年，11 岁时丧父，全家搬至新英格兰的新罕布什尔（New Hampshire）的祖父家。弗罗斯特从小喜爱读诗、写诗，中学时代就显露诗才。1982 年中学毕业后，他进入达特茅斯学院（Dartmouth College），但 7 周后退学。1897 年进入哈佛大学，两年后因病辍学。其后以教书和务农为生。1912 年，弗罗斯特举家迁至英国伦敦，专事诗歌创作，很快出版第一部
英美文学欣赏（第四版）
➢ Questions
1. What does the “road” symbolize in the poem? 2. Were you once in a position of choosing between two roads? How
important is it for a person to choose a proper road in life? Give your reasons.
Or highway where the slow wheel pours the sand.
我不该被抑制了，而在某一天我该悄悄溜走，溜进那茫茫林间，任何时候都不怕看见空地广袤，或是缓缓车轮洒下沙粒的大道。
英美文学欣赏（第四版）
I do not see why I should e’er turn back, Or those should not set forth upon my track To overtake me, who should miss me here And long to know if still I held them dear.

robert frost

他的简介; Robert FrostRobert Frost was born in San Francisco on March 26, 1874. He moved to New England at the age of eleven and became interested in reading and writing poetry during his high school years in Lawrence, Massachusetts. He was enrolled at Dartmouth College in 1892, and later at Harvard, though he never earned a formal degree.Frost drifted through a string of occupations after leaving school, working as a teacher, cobbler, and editor of the Lawrence Sentinel. His first professional poem, "My Butterfly," was published on November 8, 1894, in the New York newspaper The Independent.In 1895, Frost married Elinor Miriam White, who became a major inspiration in his poetry until her death in 1938. The couple moved to England in 1912, after their New Hampshire farm failed, and it was abroad that Frost met and was influenced by such contemporary British poets as Edward Thomas, Rupert Brooke, and Robert Graves. While in England, Frost also established a friendship with the poet Ezra Pound, who helped to promote and publish his work.By the time Frost returned to the United States in 1915, he had published two full-length collections, A Boy's Will and North of Boston, and his reputation was established. By the nineteen-twenties, he was the most celebrated poet in America, and with each new book—including New Hampshire (1923), A Further Range (1936), Steeple Bush (1947), and In the Clearing (1962)—his fame and honors (including four Pulitzer Prizes) increased.Though his work is principally associated with the life and landscape of New England, and though he was a poet of traditional verse forms and metrics who remained steadfastly aloof from the poetic movements and fashions of his time, Frost is anything but a merely regional or minor poet. The author of searching and often dark meditations on universal themes, he is a quintessentially modern poet in his adherence to language as it is actually spoken, in the psychological complexity of his portraits, and in the degree to which his work is infused with layers of ambiguity and irony.In a 1970 review of The Poetry of Robert Frost, the poet Daniel Hoffman describes Frost's early work as "the Puritan ethic turned astonishingly lyrical and enabled to say out loud the sources of its own delight in the world," and comments on Frost's career as The American Bard: "He became a national celebrity, our nearly official Poet Laureate, and a great performer in the tradition of that earlier master of the literary vernacular, Mark Twain."About Frost, President John F. Kennedy said, "He has bequeathed his nation a body of imperishable verse from which Americans will forever gain joy and understanding."Robert Frost lived and taught for many years in Massachusetts and Vermont, and died in Boston on January 29, 1963.A Selected BibliographyPoetryA Boy's Will (1913)North of Boston (1914)Mountain Interval (1916)New Hampshire (1923)West-Running Brook (1928)The Lovely Shall Be Choosers (1929)The Lone Striker (1933)From Snow to Snow (1936)A Further Range (1936)A Witness Tree (1942)Come In, and Other Poems (1943)Masque of Reason (1945)Steeple Bush (1947)Hard Not to be King (1951)Robert FrostRobert Frost1874–1963Robert Frost holds a unique and almost isolated position in American letters. "Though his careerfully spans the modern period and though it is impossible to speak of him as anything other than a modern poet," writes James M. Cox, "it is difficult to place him in the main tradition of modern poetry." In a sense, Frost stands at the crossroads of nineteenth-century American poetry and modernism, for in his verse may be found the culmination of many nineteenth-century tendencies and traditions as well as parallels to the works of his twentieth-century contemporaries. Taking his symbols from the public domain, Frost developed, as many critics note, an original, modern idiom and a sense of directness and economy that reflect the imagism of Ezra Pound and Amy Lowell. On the other hand, as Leonard Unger and William Van O'Connor point out in Poems for Study, "Frost's poetry, unlike that of such contemporaries as Eliot, Stevens, and the later Yeats, shows no marked departure from the poetic practices of the nineteenth century." Although he avoids traditional verse forms and only uses rhyme erratically, Frost is not an innovator and his technique is never experimental.Frost's theory of poetic composition ties him to both centuries. Like the nineteenth-century Romantics, he maintained that a poem is "never a put-up job.... It begins as a lump in the throat, a sense of wrong, a homesickness, a loneliness. It is never a thought to begin with. It is at its best when it is a tantalizing vagueness." Yet, "working out his own version of the 'impersonal' view of art," as Hyatt H. Waggoner observed, Frost also upheld T. S. Eliot's idea that the man who suffers and the artist who creates are totally separate. In a 1932 letter to Sydney Cox, Frost explained his conception of poetry: "The objective idea is all I ever cared about. Most of my ideas occur in verse.... To be too subjective with what an artist has managed to make objective is to come on him presumptuously and render ungraceful what he in pain of his life had faith he had made graceful."To accomplish such objectivity and grace, Frost took up nineteenth-century tools and made them new. Lawrence Thompson has explained that, according to Frost, "the self-imposed restrictions of meter in form and of coherence in content" work to a poet's advantage; they liberate him from the experimentalist's burden—the perpetual search for new forms and alternative structures. Thus Frost, as he himself put it in "The Constant Symbol," wrote his verse regular; he never completely abandoned conventional metrical forms for free verse, as so many of his contemporaries were doing. At the same time, his adherence to meter, line length, and rhyme scheme was not an arbitrary choice. He maintained that "the freshness of a poem belongs absolutely to its not having been thought out and then set to verse as the verse in turn might be set to music." He believed, rather, that the poem's particular mood dictated or determined the poet's "first commitment to metre and length of line."Critics frequently point out that Frost complicated his problem and enriched his style by setting traditional meters against the natural rhythms of speech. Drawing his language primarily from the vernacular, he avoided artificial poetic diction by employing the accent of a soft-spoken New Englander. In The Function of Criticism, Yvor Winters faulted Frost for his "endeavor to make his style approximate as closely as possible the style of conversation." But what Frost achieved in his poetry was much more complex than a mere imitation of the New England farmer idiom. He wanted to restore to literature the "sentence sounds that underlie the words," the "vocal gesture" that enhances meaning. That is, he felt the poet's ear must be sensitive to the voice in order to capture with the written word the significance of sound in the spoken word. "The Death of theHired Man," for instance, consists almost entirely of dialogue between Mary and Warren, her farmer-husband, but critics have observed that in this poem Frost takes the prosaic patterns of their speech and makes them lyrical. To Ezra Pound "The Death of the Hired Man" represented Frost at his best—when he "dared to write ... in the natural speech of New England; in natural spoken speech, which is very different from the 'natural' speech of the newspapers, and of many professors."Frost's use of New England dialect is only one aspect of his often discussed regionalism. Within New England, his particular focus was on New Hampshire, which he called "one of the two best states in the Union," the other being Vermont. In an essay entitled "Robert Frost and New England: A Revaluation," W. G. O'Donnell noted how from the start, in A Boy's Will, "Frost had already decided to give his writing a local habitation and a New England name, to root his art in the soil that he had worked with his own hands." Reviewing North of Boston in the New Republic, Amy Lowell wrote, "Not only is his work New England in subject, it is so in technique.... Mr. Frost has reproduced both people and scenery with a vividness which is extraordinary." Many other critics have lauded Frost's ability to realistically evoke the New England landscape; they point out that one can visualize an orchard in "After Apple-Picking" or imagine spring in a farmyard in "Two Tramps in Mud Time." In this "ability to portray the local truth in nature," O'Donnell claims, Frost has no peer. The same ability prompted Pound to declare, "I know more of farm life than I did before I had read his poems. That means I know more of 'Life.'"Frost's regionalism, critics remark, is in his realism, not in politics; he creates no picture of regional unity or sense of community. In The Continuity of American Poetry, Roy Harvey Pearce describes Frost's protagonists as individuals who are constantly forced to confront their individualism as such and to reject the modern world in order to retain their identity. Frost's use of nature is not only similar but closely tied to this regionalism. He stays as clear of religion and mysticism as he does of politics. What he finds in nature is sensuous pleasure; he is also sensitive to the earth's fertility and to man's relationship to the soil. To critic M. L. Rosenthal, Frost's pastoral quality, his "lyrical and realistic repossession of the rural and 'natural,'" is the staple of his reputation.Yet, just as Frost is aware of the distances between one man and another, so he is also always aware of the distinction, the ultimate separateness, of nature and man. Marion Montgomery has explained, "His attitude toward nature is one of armed and amicable truce and mutual respect interspersed with crossings of the boundaries" between individual man and natural forces. Below the surface of Frost's poems are dreadful implications, what Rosenthal calls his "shocked sense of the helpless cruelty of things." This natural cruelty is at work in "Design" and in "Once by the Pacific." The ominous tone of these two poems prompted Rosenthal's further comment: "At his most powerful Frost is as staggered by 'the horror' as Eliot and approaches the hysterical edge of sensibility in a comparable way.... His is still the modern mind in search of its own meaning."The austere and tragic view of life that emerges in so many of Frost's poems is modulated by his metaphysical use of detail. As Frost portrays him, man might be alone in an ultimately indifferent universe, but he may nevertheless look to the natural world for metaphors of his own condition.Thus, in his search for meaning in the modern world, Frost focuses on those moments when the seen and the unseen, the tangible and the spiritual intersect. John T. Napier calls this Frost's ability "to find the ordinary a matrix for the extraordinary." In this respect, he is often compared with Emily Dickinson and Ralph Waldo Emerson, in whose poetry, too, a simple fact, object, person, or event will be transfigured and take on greater mystery or significance. The poem "Birches" is an example: it contains the image of slender trees bent to the ground- temporarily by a boy's swinging on them or permanently by an ice-storm. But as the poem unfolds, it becomes clear that the speaker is concerned not only with child's play and natural phenomena, but also with the point at which physical and spiritual reality merge.Such symbolic import of mundane facts informs many of Frost's poems, and in "Education by Poetry" he explained: "Poetry begins in trivial metaphors, pretty metaphors, 'grace' metaphors, and goes on to the profoundest thinking that we have. Poetry provides the one permissible way of saying one thing and meaning another.... Unless you are at home in the metaphor, unless you have had your proper poetical education in the metaphor, you are not safe anywhere."Frost's own poetical education began in San Francisco where he was born in 1874, but he found his place of safety in New England when his family moved to Lawrence, Massachusetts, in 1884 following his father's death. The move was actually a return, for Frost's ancestors were originally New Englanders. The region must have been particularly conducive to the writing of poetry because within the next five years Frost had made up his mind to be a poet. In fact, he graduated from Lawrence High School, in 1892, as class poet (he also shared the honor of co-valedictorian with his wife-to-be Elinor White); and two years later, the New York Independent accepted his poem entitled "My Butterfly," launching his status as a professional poet with a check for $15.00.To celebrate his first publication, Frost had a book of six poems privately printed; two copies of Twilight were made—one for himself and one for his fiancee. Over the next eight years, however, he succeeded in having only thirteen more poems published. During this time, Frost sporadically attended Dartmouth and Harvard and earned a living teaching school and, later, working a farm in Derry, New Hampshire. But in 1912, discouraged by American magazines' constant rejection of his work, he took his family to England, where he could "write and be poor without further scandal in the family." In England, Frost found the professional esteem denied him in his native country. Continuing to write about New England, he had two books published, A Boy's Will and North of Boston, which established his reputation so that his return to the United States in 1915 was as a celebrated literary figure. Holt put out an American edition of North of Boston, and periodicals that had once scorned his work now sought it.Since 1915 Frost's position in American letters has been firmly rooted; in the years before his death he came to be considered the unofficial poet laureate of the United States. On his seventy-fifth birthday, the U.S. Senate passed a resolution in his honor which said, "His poems have helped to guide American thought and humor and wisdom, setting forth to our minds a reliable representation of ourselves and of all men." In 1955, the State of Vermont named a mountain after him in Ripton, the town of his legal residence; and at the presidential inauguration of John F. Kennedy in 1961, Frost was given the unprecedented honor of being asked to read apoem. Frost wrote a poem called "Dedication" for the occasion, but could not read it given the day's harsh sunlight. He instead recited "The Gift Outright," which Kennedy had originally asked him to read, with a revised, more forward-looking, last line.Though Frost allied himself with no literary school or movement, the imagists helped at the start to promote his American reputation. Poetry: A Magazine of Verse published his work before others began to clamor for it. It also published a review by Ezra Pound of the British edition of A Boy's Will, which Pound said "has the tang of the New Hampshire woods, and it has just this utter sincerity. It is not post-Miltonic or post-Swinburnian or post Kiplonian. This man has the good sense to speak naturally and to paint the thing, the thing as he sees it." Amy Lowell reviewed North of Boston in the New Republic, and she, too, sang Frost's praises: "He writes in classic metres in a way to set the teeth of all the poets of the older schools on edge; and he writes in classic metres, and uses inversions and cliches whenever he pleases, those devices so abhorred by the newest generation. He goes his own way, regardless of anyone else's rules, and the result is a book of unusual power and sincerity." In these first two volumes, Frost introduced not only his affection for New England themes and his unique blend of traditional meters and colloquialism, but also his use of dramatic monologues and dialogues. "Mending Wall," the leading poem in North of Boston, describes the friendly argument between the speaker and his neighbor as they walk along their common wall replacing fallen stones; their differing attitudes toward "boundaries" offer symbolic significance typical of the poems in these early collections.Mountain Interval marked Frost's turn to another kind of poem, a brief meditation sparked by an object, person or event. Like the monologues and dialogues, these short pieces have a dramatic quality. "Birches," discussed above, is an example, as is "The Road Not Taken," in which a fork in a woodland path transcends the specific. The distinction of this volume, the Boston Transcript said, "is that Mr. Frost takes the lyricism of A Boy's Will and plays a deeper music and gives a more intricate variety of experience."Several new qualities emerged in Frost's work with the appearance of New Hampshire, particularly a new self-consciousness and willingness to speak of himself and his art. The volume, for which Frost won his first Pulitzer Prize, "pretends to be nothing but a long poem with notes and grace notes," as Louis Untermeyer described it. The title poem, approximately fourteen pages long, is a "rambling tribute" to Frost's favorite state and "is starred and dotted with scientific numerals in the manner of the most profound treatise." Thus, a footnote at the end of a line of poetry will refer the reader to another poem seemingly inserted to merely reinforce the text of "New Hampshire." Some of these poems are in the form of epigrams, which appear for the first time in Frost's work. "Fire and Ice," for example, one of the better known epigrams, speculates on the means by which the world will end. Frost's most famous and, according to J. McBride Dabbs, most perfect lyric, "Stopping by Woods on a Snowy Evening," is also included in this collection; conveying "the insistent whisper of death at the heart of life," the poem portrays a speaker who stops his sleigh in the midst of a snowy woods only to be called from the inviting gloom by the recollection of practical duties. Frost himself said of this poem that it is the kind he'd like to print on one page followed with "forty pages of footnotes."West-Running Brook, Frost's fifth book of poems, is divided into six sections, one of which is taken up entirely by the title poem. This poem refers to a brook which perversely flows west instead of east to the Atlantic like all other brooks. A comparison is set up between the brook and the poem's speaker who trusts himself to go by "contraries"; further rebellious elements exemplified by the brook give expression to an eccentric individualism, Frost's stoic theme of resistance and self-realization. Reviewing the collection in the New York Herald Tribune, Babette Deutsch wrote: "The courage that is bred by a dark sense of Fate, the tenderness that broods over mankind in all its blindness and absurdity, the vision that comes to rest as fully on kitchen smoke and lapsing snow as on mountains and stars—these are his, and in his seemingly casual poetry, he quietly makes them ours."A Further Range, which earned Frost another Pulitzer Prize and was a Book-of-the-Month Club selection, contains two groups of poems subtitled "Taken Doubly" and "Taken Singly." In the first, and more interesting, of these groups, the poems are somewhat didactic, though there are humorous and satiric pieces as well. Included here is "Two Tramps in Mud Time," which opens with the story of two itinerant lumbermen who offer to cut the speaker's wood for pay; the poem then develops into a sermon on the relationship between work and play, vocation and avocation, preaching the necessity to unite them. Of the entire volume, William Rose Benet wrote, "It is better worth reading than nine-tenths of the books that will come your way this year. In a time when all kinds of insanity are assailing the nations it is good to listen to this quiet humor, even about a hen, a hornet, or Square Matthew.... And if anybody should ask me why I still believe in my land, I have only to put this book in his hand and answer, 'Well-here is a man of my country.'"Most critics acknowledge that Frost's poetry in the forties and fifties grew more and more abstract, cryptic, and even sententious, so it is generally on the basis of his earlier work that he is judged. His political conservatism and religious faith, hitherto informed by skepticism and local color, became more and more the guiding principles of his work. He had been, as Randall Jarrell points out, "a very odd and very radical radical when young" yet became "sometimes callously and unimaginatively conservative" in his old age. He had become a public figure, and in the years before his death, much of his poetry was written from this stance.Reviewing A Witness Tree in Books, Wilbert Snow noted a few poems "which have a right to stand with the best things he has written": "Come In," "The Silken Tent," and "Carpe Diem" especially. Yet Snow went on: "Some of the poems here are little more than rhymed fancies; others lack the bullet-like unity of structure to be found in North of Boston." On the other hand, Stephen Vincent Benet felt that Frost had "never written any better poems than some of those in this book." Similarly, critics were let down by In the Clearing. One wrote, "Although this reviewer considers Robert Frost to be the foremost contemporary U.S. poet, he regretfully must state that most of the poems in this new volume are disappointing.... [They] often are closer to jingles than to the memorable poetry we associate with his name." Another maintained that "the bulk of the book consists of poems of 'philosophic talk.' Whether you like them or not depends mostly on whether you share the 'philosophy.'"Indeed, many readers do share Frost's philosophy, and still others who do not neverthelesscontinue to find delight and significance in his large body of poetry. In October, 1963, President John F. Kennedy delivered a speech at the dedication of the Robert Frost Library in Amherst, Massachusetts. "In honoring Robert Frost," the President said, "we therefore can pay honor to the deepest source of our national strength. That strength takes many forms and the most obvious forms are not always the most significant.... Our national strength matters; but the spirit which informs and controls our strength matters just as much. This was the special significance of Robert Frost." The poet would probably have been pleased by such recognition, for he had said once, in an interview with Harvey Breit: "One thing I care about, and wish young people could care about, is taking poetry as the first form of understanding. If poetry isn't understanding all, the whole world, then it isn't worth anything."Frost's poetry is revered to this day. When a previously unknown poem by Frost titled "War Thoughts at Home," was discovered and dated to 1918, it was subsequently published in the fall, 2006, edition of the Virginia Quartely Review.CareerPoet. Held various jobs between college studies, including bobbin boy in a Massachusetts mill, cobbler, editor of a country newspaper, schoolteacher, and farmer. Lived in England, 1912-15. Tufts College, Medford, MA, Phi Beta Kappa poet, 1915 and 1940; Amherst College, Amherst, MA, professor of English and poet-in-residence, 1916-20, 1923-25, and 1926-28; Harvard University, Cambridge, MA, Phi Beta Kappa poet, 1916 and 1941; Middlebury College, Middlebury, VT, co-founder of the Bread-Loaf School and Conference of English, 1920, annual lecturer, beginning 1920; University of Michigan, Ann Arbor, professor and poet-in-residence, 1921-23, fellow in letters, 1925-26; Columbia University, New York City, Phi Beta Kappa poet, 1932; Yale University, New Haven, CT, associate fellow, beginning 1933; Harvard University, Charles Eliot Norton Professor of Poetry, 1936, board overseer, 1938-39, Ralph Waldo Emerson Fellow, 1939-41, honorary fellow, 1942-43; associate of Adams House; fellow in American civilization, 1941-42; Dartmouth College, Hanover, NH, George Ticknor Fellow in Humanities, 1943-49, visiting lecturer.BibliographyPOETRYTwilight, [Lawrence, MA], 1894, reprinted, University of Virginia, 1966.A Boy's Will, D. Nutt, 1913, Holt, 1915.North of Boston, D. Nutt, 1914, Holt, 1915, reprinted, Dodd, 1977.Mountain Interval, Holt, 1916.New Hampshire, Holt, 1923, reprinted, New Dresden Press, 1955.Selected Poems, Holt, 1923.Several Short Poems, Holt, 1924.West-Running Brook, Holt, 1928.Selected Poems, Holt, 1928.The Lovely Shall Be Choosers, Random House, 1929.The Lone Striker, Knopf, 1933.Two Tramps in Mud-Time, Holt, 1934.The Gold Hesperidee, Bibliophile Press, 1935.Three Poems, Baker Library Press, 1935.A Further Range, Holt, 1936.From Snow to Snow, Holt, 1936.A Witness Tree, Holt, 1942.A Masque of Reason (verse drama), Holt, 1942.Steeple Bush, Holt, 1947.A Masque of Mercy (verse drama), Holt, 1947.Greece, Black Rose Press, 1948.Hard Not to Be King, House of Books, 1951.Aforesaid, Holt, 1954.The Gift Outright, Holt, 1961."Dedication" and "The Gift Outright" (poems read at the presidential inaugural, 1961; published with the inaugural address of J. F. Kennedy), Spiral Press, 1961.In the Clearing, Holt, 1962.Stopping by Woods on a Snowy Evening, Dutton, 1978.Early Poems, Crown, 1981.A Swinger of Birches: Poems of Robert Frost for Young People (with audiocassette), Stemmer House, 1982.Spring Pools, Lime Rock Press, 1983.Birches, illustrated by Ed Young, Holt, 1988.The Runaway (juvenile poetry), illustrated by Glenna Lang, Godine (Boston, MA), 1996.Also author of And All We Call American, 1958.POEMS ISSUED AS CHRISTMAS GREETINGSChristmas Trees, Spiral Press, 1929.Neither Out Far Nor In Deep, Holt, 1935.Everybody's Sanity, [Los Angeles], 1936.To a Young Wretch, Spiral Press, 1937.Triple Plate, Spiral Press, 1939.Our Hold on the Planet, Holt, 1940.An Unstamped Letter in Our Rural Letter Box, Spiral Press, 1944.On Making Certain Anything Has Happened, Spiral Press, 1945.One Step Backward Taken, Spiral Press, 1947.Closed for Good, Spiral Press, 1948.On a Tree Fallen Across the Road to Hear Us Talk, Spiral Press, 1949.Doom to Bloom, Holt, 1950.A Cabin in the Clearing, Spiral Press, 1951.Does No One but Me at All Ever Feel This Way in the Least, Spiral Press, 1952.One More Brevity, Holt, 1953.From a Milkweed Pod, Holt, 1954.Some Science Fiction, Spiral Press, 1955.Kitty Hawk, 1894, Holt, 1956.My Objection to Being Stepped On, Holt, 1957.Away, Spiral Press, 1958.A-Wishing Well, Spiral Press, 1959.。

美国文学Robert Frost课件

The Books of Poetry
New Hampshire 《新罕布什尔》 Collected Poems 《诗歌精选》 A Further Range 《又一片牧场》 A Witness Tree 《见证树》
Literary style
Frost‟s poems show deep appreciation of natural world and sensibility about the human aspirations. All the images (woods, stars, houses) he uses reflect the poet‟s love for nature and life, his sad experience in life and the influence religion exerted upon western people‟s daily life.
In 1912, at the age of 38, Frost decided to try to make a new start. He sold the farm and used the proceeds to take his family to England, where he became acquainted with the F.S. Flint, Edward Thomas, and Ezra Pound, who called Frost‟s poems “modern georgics(田园诗)". Fortunately he had his first two volumes of verse, A Boy‟s Will 《孩子的意愿》 (for which he

Robert Frost

• • • •
•
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 even come back.
Comment on Robert Frost
• 1 Robert Frost is often deceptively simple.His poems can be read very often on many levels.
• 2Robert Frost made the colloquial speech into poetry.
黄色的树林里分出两条路，可惜我不能同时去涉足，我在那路口久久伫立，我向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. 但我却选了另外一条路，它荒草萋萋，十分幽寂，显得更诱人、更美丽；虽然在这两条小路上，都很少留下旅人的足迹；
The end……………..
• • • •
虽然那天清晨落叶满地，两条路都未经脚印污染。呵，留下一条路等改日再见！但我知道路径延绵无尽头，恐怕我难以再回返。
•
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

罗伯特弗罗斯特

罗伯特弗罗斯特————————————————————————————————作者：————————————————————————————————日期：罗伯特·弗罗斯特罗伯特·弗罗斯特（Robert Frost，1874—1963）自然诗人罗伯特·弗罗斯特只是在他的下半生才赢得对他的诗歌成就的承认。

在此后的年代中，他树立起作为一位重要的文学家的形象。

他曾当过新英格兰州的鞋匠、教师和农场主。

他的诗歌从农村生活中汲取题材，与19世纪的诗人有很多共同之处，相比之下，却较少具有现代派气息。

罗伯特·弗罗斯特4次获得普利策奖：1924年的《新罕布什尔》、1931年的《诗歌选集》、1937年的《又一片牧场》和1943年的《一棵作证的树》。

在罗伯特·弗罗斯特75岁和85岁诞辰时，美国参议院都曾向他表示敬意。

他在约翰·肯尼迪1961年的就职仪式上十分引人注目，朗诵了他特地为这一场合写的诗篇《全才》。

罗伯特·弗罗斯特生平罗伯特·弗罗斯特，美国著名诗人。

1874年3月26日，罗伯特·弗罗斯特出生于圣弗朗西斯科(旧金山)。

他11岁时丧父，而随母亲迁回祖籍马萨诸塞州，并由其母抚养成人。

其母的苏格兰人的忠诚和虔诚的宗教信仰对弗罗斯特的个性和文学事业有很大影响，使他的作品既崇尚实际又富有神秘色彩。

他对诗歌的兴趣在中学时代就已显露，曾在校刊上发表过几首诗。

1895年结婚，其后两年，与妻子帮助母亲管理一小私立学校。

其间，写诗投稿给各种刊物，但很少得以发表。

他卖出的第一首诗《我的蝴蝶：一首哀歌》1894年发表在文学周刊《独立》上。

1897年秋，弗罗斯特入哈佛大学，以便成为中学拉丁文和希腊文教师。

但不到两年因肺病中断学业，从事养鸡。

1900年举家迁往新罕布什尔州德里他祖父为他购买的农场。

经营农场失败，又重新执教(1906年——1912年)。

其最著名的诗歌大多是在德里创作的，但并未引起编辑们的兴趣。

RobertFrost美国文学史罗伯特·弗罗斯特

Themes
Youth and the Loss of Innocence
the physical and psychic wounding of entire generation of young people throughout the two world wars 青春的创伤，童真的失去 Self-Knowledge through Nature the encounter of a human speaker and a natural phenomenon, with nature always staying indifferent to the human world 神秘的自然，冷漠的天地 Communication and Isolation the contrast between the human capacity to connect to each other and to experience profound isolation, with isolation as the final answer 孤单是一个人的狂欢, 狂欢是一群人的孤单 ——阿桑《叶子》

“one and a half” (half farmer, half teacher, half poet) Gain fame in England (1912-1914) Back to New Hampshire (1914) Pulitzer Prize (1923,1930,1936,1942) Reading poetry at the inauguration of President John F. Kennedy (1960) funny anecdotes
中国文人对路的感悟

Robert Frost罗伯特弗罗斯

Literary Career:
1894--First poem, “My Butterfly: an Elegy” 1913--A Boy's Will 1914--North of Boston 1916--Mountain Interval（including “The Road Not Taken） 1923--New Hampshire(including “Stopping by Woods on a Snowy Evening”, “Fire and Ice”) 1928--West-Running Brook
His Life:
• In 1912, he and his familLeabharlann moved to England,
where he found a publisher for his first book of
verse, A Boy's Will(1913). • In 1914, Frost's second book, North of Boston,
Poetic Features:
• Regional materials and univerial meanings; • A teasing indirectness and the use of metaphor • Dramatic elements(monologue, dialogue; characters and
Style：
stayed with traditional rorms a simple elegance of language harmony with nature used images to provide ideas

RobertFrost样板PPT课件

2020年9月28日
8
With the great success, he went back to U.S.A and settled on a New Hampshire farm.
Continued his poetry writing and became a professor at Harvard.
Frost also suffered from depression and the continual self-doubt led him to cling to the desire to be awarded the Nobel Prize for literature.
After the death of his wife, Frost became strongly attracted to Kay Morrison, whom he employed as his secretary and adviser. Frost also composed for her one of his finest love poems, 'A Witness Tree.'
2020年9月28日
4
Nature and rura source for insights into deeper design of life.
He once said: "Literature begins with geography."
When he was 10 years old, his father died.
moved back to New England where his mother taught to earn a living.

Robert Frost精品PPT课件

Frost also suffered from depression and the continual self-doubt led him to cling to the desire to be awarded the Nobel Prize for literature.
After the death of his wife, Frost became strongly attracted to Kay Morrison, whom he employed as his secretary and adviser. Frost also composed for her one of his finest love poems, 'A Witness Tree.'
awarded Pulitzer Prize for four times
1920
His wife died in 1938 and he lost four of his children. Two of his daughters suffered mental breakdowns, and his son Carol, a frustrated poet and farmer, committed suicide.
The Frost farm, where the family lived from 1900-1911
Nature and rural surroundings became for Frost a source for insights into deeper design of life.
Robert Frost
(1874--1963)
Life and Writing Career

Robert Frost 罗伯特弗罗斯特

Frost stands at the crossroads of nineteenth-century American poetry and modernism, for in his verse may be found the culmination of many nineteenth-century tendencies and trto the works of his twentieth-century contemporaries • . 弗罗斯特常被称为“交替性的诗人”，意指他处在传统诗歌和现代派诗歌交替的一个时期。他又被认为不T.S. 艾略特同为美国现代诗歌的两大中心。
About poem
• 诗分为两大类：抒情短诗不戏剧性较强的叙事诗。 • 抒情诗主要描写了大自然和农民，尤其是新英格兰的景色和北斱的农民。这些诗形象生动，具有很强的感染力，深受各个层次的读者喜爱。 • 叙事诗一般格调低沉，体现诗人思想和性格中阴郁的一面。 • 诗歌风格最大的特点是朴实无华，涵义隽永，寓深刻的思考和哲理于平淡无奇的内容和简洁朴实的诗句之中。 • He believes that man is alone in the world, and things happen neither for good nor for evil, but they simply occur. Hence,making choices and keeping steadfast are the solutions to the predicament of life.
Robert Frost
Robert Frost (1874--1963)
• born in San Francisco
• died in Boston

Robert-Frost人物及作品赏析PPT优秀课件

6
Robert Frost 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.”
屋里新娘独自在薄暮中俯身对着炉火燃烧的炭火和内心的情欲新郎注视令人厌倦的道路看到的却是屋里的人儿但愿她的心盛放在金匣里别着一枚银色的别针
The Modern Period in American Literature
1
If America had a national poet in the 20th century, it is certainly Robert Frost.
• After graduating from high school in 1892, Frost entered Dartmouth College but soon left.
• In 1895, he got married. In order to support the family, he did odd jobs: teaching school and working in a mill and as a newspaper reporter.
•In 1912, he and his family moved to England, where he found a publisher for his first book of verse, A boy’s will (1913)
•In 1914, Frost's second book, North of Boston, was published by David Nutt.

14Robert-Frost

Robert Frost1.人物相关信息罗伯特·弗罗斯特是20世纪最受欢迎的美国诗人。

他曾赢得4次普利策奖和许多其他的奖励及荣誉，被称之为美国文学中的桂冠诗人。

Along with Ezra Pound, T.S. Eliot, and Wallace Stevens, Frost is firmly regarded as one of the masters of modern American poetry. His primary contribution to poetic techniques is his theory of the “sounds of sense.” He blends the regularity of poetic meter with the freedom of speaking voice. His poems gain their special effects from a combination of speech informality and the formality of meter.”2. Characters of his poems一版本Frost was a poet particular as to technique and artistry, he did not follow the free verse 自由诗fashion of his contemporaries.He was traditional in form, and his poetic language was plain, clearly conveying a feeling in harmony with nature.Frost’s poems show deep appreciation of natural world and sensibility about the human aspirations.Frost often used the rhythms and vocabulary of ordinary speechHis images-woods, stars, houses are usually taken from everyday life.All these images reflect the poet’s love for nature and life, his sad experience in life and the influence religion exerted upon western people’s daily life.另一版本Style: He used simple language, a graceful style, and traditional forms of poetry.His poetry is characterized by a perfect combination of the traditional poetic forms and American vocabulary and speech rhythms; by a recurrent “persona”(speaker) in the image of a wise countryman.He believes poetry was metaphor. He suggests rather than speaks. He never takes side in face of life’s paradox, leaving the decision to be made by readers themselves.诗歌分类及特点弗罗斯特的诗可分为两大类：抒情短诗和戏剧性较强的叙事诗。

未选择的路ppt-人教新课标语文七年级下PPT优选课件

朴素无华，含义隽永，寓深刻的思考和
哲理于平淡无奇的内容和简洁朴实的诗
句之中。这既是弗罗斯特的艺术追求，
也是他2事020业/10/成18 功的秘密所在。
2
生活需要选择
2020/10/18
3
结合情境拓展：看图你品悟到什么？
2020/10/18
4
未选择的路
选择舍弃前行惆怅
2020/10/18
5
谢谢您的聆听与观看
THANK YOU FOR YOUR GUIDANCE.
感谢阅读！为了方便学习和使用，本文档的内容可以在下载后随意修改，调整和打印。欢迎下载！
汇报人：XXX 日期：20XX年XX月XX日
未选择的路
2020/10/18
1
作者简介
弗罗斯特 (Robert Frost)(1874 ～
1963)美国诗人。1874年3月源自6日生于美国西部的旧金山。他11岁丧父，后随母
亲迁居东北部的新英格兰。此后，他就
与那块土地结下了不解之缘。弗罗斯特
16岁开始写诗，20岁时正式发表第一首
诗歌。他勤奋笔耕，一生中共出了10多
本诗集，其中主要的有《波士顿以北》
(1914) ，《山间》(1916) ，《新罕布什
尔》(1923)，《西流的小溪》(1928)，
《见证树》(1942) 以及《林间空地》
(1962)等。对人类的恩惠，另一方面也
写了其破坏力以及给人类带来的不幸和。
弗罗斯特诗歌风格上的一个最大特点是

Robert Frost罗伯特·弗罗斯特 ppt课件

Frost
在肯尼迪总统就职典礼上献诗《
The Gift Outright
Main W
A Boy’s Will ，1913 <<一个男孩的意愿>> North of Boston， 1914 << 波士顿以北>> Mountain Interval， 1916 <<山间>> New Hampshire ，1923 <<新罕布什尔》(1924) Collected Poems ，1930 <<诗集>>(1931) A Further Range ，1936 <<又一片牧场>>(1937) A Witness Tree ，1942 <<见证树>>(1943)
In 1914, Frost's second book, North of Boston, was published by David Nutt.
Determined to win recognition in his native land, Frost returned to the US and settled on a farm in his native land.
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,
After graduating from high school in 1892, Frost entered Dartmouth College but soon left to work at odd jobs and to write poetry.

Part V Robert Frost 美国文学罗伯特弗罗斯特 ppt课件

Known as the Frost House, this house was originally built for Massachusetts Agricultural College president Henry Goodell. The local papers noted that this Stick Style home was the more modern of houses in 1875 with hot and cold running water and a furnace.
In 1892 Frost graduated from a high school and attended Darthmouth College for a few months.
Over the next ten years he held a number of jobs. Frost worked among others in a textile mill and taught
He moved to Derry, New Hampshire, working there as a cobbler, farmer, and teacher at Pinkerton Academy and at the state normal school in Plymouth.
Part V Robert Frost 美国文学罗伯特弗罗斯特
when Frost was approaching forty. That this little book and its follower
North of Boston (1914) created a revolution in American poetry is

Robert Frost罗伯特·弗罗斯特 ppt课件

Robert Frost罗伯特·弗罗斯特
• 《理智的假面具》 (1945年) • 《慈悲的假面具》(1947年)
Robert Frost罗伯特·弗罗斯特
Robert Frost罗伯特·弗罗斯特
弗罗斯特这一诗学理论的基石是爱默生的超验主义哲学思想。爱默生坚信自然是人类精神世界的物质外化，是个象征体系；弗罗斯特也强调象征和隐喻在诗歌创作中的极端重要性，注重挖掘图征、象征和类比的艺术张力。
For the next twelve years, Frost made a minimal living by teaching and farming while continuing to write his poems.
In 1912, he and his family moved to England, where he found a publisher for his first book of verse, A boy’s will (1913)
After graduating from high school in 1892, Frost entered Dartmouth College but soon left to work at odd 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.
Pulitzer Prize Winner
普利策奖也称为普利策新闻奖 1917年根据美国报业巨头约瑟夫·普利策（Joseph Pulitzer）的遗愿设立，将财产捐赠给哥伦比亚大学，设立普利策奖，奖励新闻界、文学界、音乐界的卓越人士，自1917年以来每年颁发一次。获奖作品一直被誉为“美国最负责任的写作和最优美的文字”，其新闻奖是美国新闻界的最高荣誉，成为记者们职业生涯的奋斗目标和最高梦想。

Robert frost个人简介ppt

Robert_Frost_PP

英美文学欣赏最新版教学课件美国文学Unit 8 Robert Frost

robert frost

美国文学Robert Frost课件

Robert Frost

罗伯特弗罗斯特

RobertFrost美国文学史罗伯特·弗罗斯特

Robert Frost罗伯特 弗罗斯

RobertFrost样板PPT课件

Robert Frost精品PPT课件

Robert Frost 罗伯特 弗罗斯特

Robert-Frost人物及作品赏析PPT优秀课件

14Robert-Frost

未选择的路ppt-人教新课标语文七年级下PPT优选课件

Robert Frost罗伯特·弗罗斯特 ppt课件

Part V Robert Frost 美国文学 罗伯特弗罗斯特 ppt课件

Robert Frost罗伯特·弗罗斯特 ppt课件

Robert Frost罗伯特弗罗斯

Robert Frost 罗伯特弗罗斯特

Part V Robert Frost 美国文学罗伯特弗罗斯特 ppt课件