罗伯特弗罗斯特简介英语
Robert Frost 部分诗选及简介
4. But only so an hour.
5. Then leaf subsides to leaf.
6. So Eden sank to grief,
7. So dawn goes down to day.
诗要“兴于喜悦，而终于彻悟”——弗洛斯特
Nothing Gold Can Stay
- by Robert Frost
(1874 - 1963)
1. Nature's first green is gold,
2. Her hardest hue to hold.
寒林和冰湖之间停下。
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。
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。
=====================================================
To watch his woods fill up with snow.
My little horse must think it queer
To stop without a farhouse near
Between the woods and frozen lake
The darkest evening of the year.
★Frost in The Atlantic Monthly
/doc/prem/199604u/frost-intro
1996 profile that includes poems and readings
罗伯特弗罗斯特故事自然诗人的追求与启发
罗伯特弗罗斯特故事自然诗人的追求与启发罗伯特·弗罗斯特（Robert Frost）是美国著名的诗人，被誉为自然诗人。
他以描绘自然景观和人类内心的矛盾为特色，深受读者喜爱。
本文将探讨罗伯特·弗罗斯特的故事背景、他对自然的追求以及对读者的启发。
一、罗伯特·弗罗斯特的故事背景罗伯特·弗罗斯特出生于美国马萨诸塞州的旧奥查德（Old Orchard），从小就爱上了大自然的美丽。
他的童年经历在很大程度上影响了他日后的创作风格。
在他的诗歌中，我们经常可以看到对乡村和农田的描绘，这也是他对童年记忆的回忆和怀念。
二、自然诗人的追求罗伯特·弗罗斯特是一位自然诗人，他的诗歌作品中经常渗透着对自然的追求和对自然界中微妙之美的观察。
他将自然界的景象与人类情感紧密结合，传达了自然和人类内心之间的共鸣。
他的诗歌既展示了大自然的美丽，又反映了人类在自然面前所面临的困惑和挣扎。
在弗罗斯特的作品中，我们可以感受到他对自然的热爱和敬畏。
他用简洁而朴实的语言，描绘出四季更替、山水交融的壮丽景象。
例如他的著名诗作《雪夜》中，通过描写冬季森林的寂静和纯净，传达出对大自然的敬意和对生命的深思。
他的诗作让读者不仅感受到自然的美丽，更能够从中寻找到内心的平静和和谐。
三、读者的启发罗伯特·弗罗斯特的诗歌不仅仅是对自然的赞美，更是一种对读者内心的触动和启发。
他通过自然的描绘来表达人类情感的复杂性和对现实的思考。
他的诗作不仅在美学上给予读者享受，更引发了读者对生活和意义的思考。
通过阅读弗罗斯特的诗歌，读者不仅仅是欣赏到了自然的美丽，更是被他对人类内心的揭示所触动。
他的诗作中融入了对人生和人类行为的深刻洞察，让人们思考自己的存在和价值。
四、结语罗伯特·弗罗斯特是一位伟大的自然诗人，他的作品深入人心，给读者带来了美与思考。
通过描绘自然景观，他不仅向读者呈现了大自然的壮丽和美丽，更启发了读者对内心世界的思考和反思。
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个人简介ppt
Stopping by Woods on a Snowy Evening
Whose woods these are I think I know, His house is in the village though. He will not see me stopping here, To watch his woods fill up with snow. . My little horse must think it queer, To stop without a farmhouse near, Between the woods and frozen lake, The darkest evening of the year. . 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. . The woods are lovely, dark and deep. But I have promises to keep, And miles to go before I sleep.
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.。
Robert Frost 弗罗斯特
In 1912, Frost moved to England. During his stay in London, he met Ezra Pound, Edward Thomas, Thomas Ernest Hulme and other poets. With the help of these friends, his collection of lyric poems was accepted by a publishing company in London, which was published in 1913 under the title of A Boy’s Will. Then Frost’s poem started to attract the attention of American publishing circles.
Robert Lee Frost ved honorary degrees from 44 colleges and universities
Read his poetry at the inauguration of President Kennedy
《诗集》
A Further Range, 1936
《又一片农场》
A Witness Tree, 1942
《见证树》
• His poems
The Road Not Taken
《未选择的路》
Stopping by Woods on a Snowy Evening
《雪夜林边驻脚》
Desert Places
In his twenties and thirties, Frost traveled many places on foot and was regarded as “the poet of New England countryside". Yet his poems didn't interest the editors then.
用英语介绍喜欢的诗人作文
用英语介绍喜欢的诗人作文英文回答：My favorite poet is Robert Frost. He is an American poet who is known for his simple yet profound poems.Frost's poems often explore themes of nature, human emotions, and the complexities of life. One of his most famous poems is "The Road Not Taken," which talks about the choices we make in life and how they shape our future.I love Frost's poetry because it speaks to me on a personal level. His words have a way of capturing the beauty and harshness of nature, as well as the joys and sorrows of human existence. For example, in his poem "Stopping by Woods on a Snowy Evening," Frost describes a peaceful scene of a snowy forest, but also hints at the darker, more mysterious aspects of life.Another reason why I admire Frost is his use of language. He has a knack for using simple, everyday wordsto convey deep emotions and complex ideas. His poems are accessible to everyone, yet they still have layers of meaning that can be unpacked and explored. For instance, in his poem "Fire and Ice," Frost uses the simple words "fire" and "ice" to symbolize desire and hatred, and how they can both lead to destruction.Frost's poetry also has a timeless quality to it. Even though he wrote in the early 20th century, his themes and insights are still relevant today. His poems resonate with readers of all ages and backgrounds, and his words continue to inspire and provoke thought.中文回答：我最喜欢的诗人是罗伯特·弗罗斯特（Robert Frost）。
美国文学Robert Frost
• 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). • Determined to win recognition in his native land, Frost returned to the US and settled on a farm in his native land. • By the end of his life he had become a national poet; he received honorary degrees from forty-four colleges and universities and won four Pulitzer
Poems:
《白桦 》
After Apple-Picking
Birches
《摘罢苹果 》
Stopping by Woods on a Snowy Evening
《雪夜伫立林边有感 》
The Road Not Taken
《未选择的路 》
•III. Frost’s View and Theme
• His poetry concerns New England’s nature. He saw nature as a storehouse of analogy and symbol, so his concern with nature reflected deep moral uncertainties. • His poetry often probes mysterious of darkness and irrationality in the bleak and chaotic landscapes of an indifferent universe. • 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. • The poetry of Robert Frost combined pastoral imagery with solitary philosophical themes.
Robert Frost
Poet
4 times won the Pulitzer prize
Main works
A boy’s will 1913 North of Boston 1914 Mountain interval 1916 《一个男孩的意愿 》 23
Thank you
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。
这首《雪夜林前小驻》所描写的情景不 用解释，但它后面的情趣、哲理、魅力， 需要细细品位
每个人会根据自己的经历体会无数个 生活背后的韵味。 弗在诗中暗示，少年应有理想，但理想只 是现实的延伸，有其极限。到了极限，自 然要重回现实来，再认识人生。
Stopping by Woods on a Snowy Evening 雪夜林畔小驻
Whose woods these are I think I know. His house is in the village though;
He will not see me stopping here
To watch his woods fill up with snow.
(译)余光中 。想来我认识这座森林， 林 主的庄宅就在邻村, 却不会见我在此驻马， 看他林中积雪的美景
My little horse must think it queer To stop without a farhouse near
Between the woods and frozen lake
6,Robert frost moved to England in 1912.
7,He got back to America in 1915 after the began of the First World War(1914~1918).At that time, his first two poetry anthology (诗集) was published in New York and his poems was very popular among the readers. Since then, he became very famous. 8，He was died in1963 in Boston.
Robert-Frost
About the poem, Frost asserted, “You have to
be careful of that one; it’s a tricky poem– very
tricky.” Superficially, the poem has been and
continues to be used as an inspirational（鼓舞人 心的） poem, encouraging self-reliance, not following where others have led.
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， 我向着一条路极 目望去，
直到它消失在丛林 深处。
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.
Biographical Introduction
Robert_Lee_Frost罗伯特弗罗斯特简介
Some famous poems
The Road Not Taken《未选择的路》 Stopping By Woods on a Snowy Evening 《雪夜林边驻脚》 Fire and Ice《火与冰》 Mending Wall《补墙》 Nothing Gold Can Stay《美景易逝》 The Birches《白桦树》
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》
Characters of his poems
Frost‟s poems show deep appreciation of natural world and sensibility about the human aspirations.
Life
He married Elinor Miriam White at Lawrence, Massachusetts on December 19, 1895.(21)
He entered college twice, Dartmouth and Harvard. Frost studied at Harvard for two years(1897~1899), but left without receiving a degree due to family problems and poor health.
He made some important acquaintances there. After that he published “North of Boston”《波士顿以北》，which was highly praised by British critics. As World War I began, Frost returned to America in 1915 and bought a farm in Franconia, New Hampshire, where he launched a career of writing, teaching, and lecturing.(41)
robert forest
Extracurricular expanding（课外 拓展）
Tao yuanming is the eastern jin dynasty famous pastoral poets, frost is not a modern famous pastoral poets. The distance in time and space, they are far apart, but the two poets in dealing with reality took a similar attitude towards life and lifestyle, and put it all to melt in the pursuit of beauty and a celebration of the pastoral. Eastern and western poets read their poems, you will feel to break through the limitation of time, in the poems to express the beauty and artistic conception.
My little horse must think it queer To stop without a farhouse near Between the woods and frozen lake The darkest evening of the year.
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. 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.
ROBERT FROST
END
Байду номын сангаас
Works appreciation
The Road Not Taken
Oh, I kept the first for another day! Two roads diverged in a yellow wood, Yet knowing how way leads on to way, And sorry I could not travel both I doubted if I should ever And be one traveler, long I stood And looked down one as far as I could come back. I shall be telling this with a To where it bent in the undergrowth; sigh Then took the other, as just as fair, And having perhaps the better claim, Somewhere ages and ages hence， Because it was grassy and wanted Two roads diverged in a wear; wood,and I—I took the one Though as for that the passing there Had worn them really about the same, less traveled by, And that has made all the And both that morning equally lay difference In leaves no step had trodden black.
罗伯特弗罗斯特简介英语
Deceptively simple style (reason for popular)
Symbolism (show his poems’ deep meaning)
Traditional forms but modern themes (traditional elements and modern elements mingle together.)
那以后岁月流逝，日久天长 有一天长叹一声，我要诉讲： 林中两条岔路彷徨 我选择了行人更少的一条路 人生从此全然两样
I had a lover's quarrel with the world
我和这个世界有过情人般的争吵
-罗伯特·弗罗斯特墓志铭
制作：刘志勇 演讲：林立权
And both that morning equally lay
那天早晨落叶铺满道上
In leaves no step had trodden black 落叶尚无脚踩的痕伤
Oh, I kept the first for another day! 啊，且将第一条留待他日寻访 Yet knowing how way leads on to way 明知道路尽穷处又是路 I doubted if I should ever come back 重访此地怕是痴想
Works
A Boy’s Will North of Boston Mountain Interval New Hampshire West-Running Brook Collected Poems A Further Range A witness Tree A Masque of Reason Steeple Bush A Masque of Mercy
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。
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。
Mending_Wall-修墙(罗伯特·弗罗斯特)
Something there is that doesn't love a wall,
That sends the frozenground-swell under it,
And spills the upper boulders in the sun;
And makes gaps even two can pass abreast.
有些是长块的，有些几乎 (jīhū)圆得像球．
需要一点魔术才能把它们 放稳当：
“老实呆在那里，等我们 转过身再落下！”
精品PPT
We wear our fingers rough 我们搬弄石头．把手指都
with handling them.
磨粗了。
Oh, just another kind of out- 啊！这不过又是一种户外
orchard.
是苹果园。
My apple trees will never get across
我的苹果树永远(yǒngyuǎn) 也不会踱过去
And eat the cones under his pines,
吃掉他松树下的松球，
I tell him. He only says,
我对他说。他只是说：
“为什么好篱笆造出好 邻家(lín jiā)？是否指着
精品PPT
Where there are cows? But 有牛的人家？可是我们
here there are no cows.
此地(cǐ dì)又没有牛。
Before I built a wall I'd ask to know
我在造墙之前．先要弄 个清楚，
精品PPT
Robert Frost·简介(jiǎn jiè)
外国诗歌二首作者弗罗斯特简介
外国诗歌二首作者弗罗斯特简介
外国诗歌二首作者弗罗斯特简介
罗伯特·弗罗斯特（Robert Frost）是美国20世纪最著名的诗人之一，也被誉为现代美国诗歌的代表人物。
他的诗歌作品深受大自然和人类生活的影响，通常以简洁明快的语言表达深刻的哲理和情感。
弗罗斯特于1874年生于美国加州，他的诗歌创作起初受到英国浪漫
主义诗人的影响，但后来他逐渐创造出自己独特的艺术风格。
他的诗歌常常通过自然的景物和农村生活来探索人类的内心世界和生活的
真相。
弗罗斯特最著名的作品之一是《路》（The Road Not Taken），这首诗描绘了一个人在生命中做出抉择的难题，以及因此所带来的不同结果。
这首诗被广泛引用，并被解读为对个人选择、命运和人生意义的思考。
另一首著名的诗作是《雪夜》（Stopping by Woods on a Snowy Evening），这首诗通过描绘一个人在雪夜中驶入森林的场景，表达了对生命的思索和对死亡的暗示。
这首诗以其简洁、优美的语言和深刻的意义而深受读者喜爱。
弗罗斯特的诗歌常常以对自然和人性的深入观察为基础，他经常使用
常见的场景和形象来探讨人类的情感和存在。
他的诗歌风格简洁明了，语言通俗易懂，但深藏着丰富的层次和意义。
他的作品常常被认为是对人生、自由意志和道德选择等主题的深刻思考。
弗罗斯特于1963年逝世，但他的诗歌作品至今仍然广为流传，并对
世界各地的读者产生了深远的影响。
他的作品通过对自然和人类生活的描绘，传达了对生命和人性的理解，同时也引发了读者们对自身存在意义的思考。
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。
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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
And looked down one as far as I could 良久伫立，我朝第一条路眺望
To where it bent in the undergrowth
路转处惟见林森草长
Then took the other, as just as fair
我再把另一条探望
And having perhaps the better claim
And both that morning equally lay
那天早晨落叶铺满道上
In leaves no step had trodden black 落叶尚无脚踩的痕伤
Oh, I kept the first for another day! 啊，且将第一条留待他日寻访 Yet knowing how way leads on to way 明知道路尽穷处又是路 I doubted if I should ever come back 重访此地怕是痴想
The Road Not Taken
Two roads diverged in a yellow wood
森林叶黄，林中岔路各奔一方
And sorry I could not travel both
我一人独行，无限惆怅
And be one traveler, long I stood
不能把两条路同时造访
那以后岁月流逝，日久天长 有一天长叹一声，我要诉讲： 林中两条岔路彷徨 我选择了行人更少的一条路 人生从此全然两样
I had a lover's quarrel with the world
我和这个世界有过情人般的争吵
-罗伯特·弗罗斯特墓志铭
制作：刘志勇 演讲：林立权
Robert Frost
I had a lover's quarrel with the
world
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，二十世纪七八十年代 已经发展成为美国新闻界的 一项最高荣誉奖.
A four-time winner of the Pulitzer Prize
被称之为“美国文学中的桂冠诗人”。
life
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。
一样美丽，一样坦荡
Because it was grassy and wanted wear 但或许更令人向往
Though as for that, the passing there
虽然两条路都曾有人过往
Had worn them really about the same
但这条芳草萋萋，更少人踏 荒
《少年的心愿》 1913
《波士顿以北》 1914
《山间低地》
1916
《新罕布仕尔》 1923
《西去的溪流》 1928
《诗集》
1930
《山外青山》
1935
《见证树》
1942
Hale Waihona Puke 《理性假面具》 1945 《绒 毛绣线菊》 1947
《仁慈假面具》 1947
Style
Profound meanings are hidden underneath the plain language and simple form.
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。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。
1912年，弗罗斯特带领全家迁居英国。伦敦一家出版公司立即接受他的抒情诗集， 1913年以《少年的意志》为题出版。接着，他的叙事诗集《波士顿以北》又在1914年 出版。英国评论家的热情赞扬引起美国出版界的重视。三家美国出版公司立即向他约 稿。他在伦敦期间还结识了E．庞德、E．托马斯、 T．E．休姆、W．W．吉布森、 L．艾伯克龙比和其他著名诗人。
Mostly wrote about nature and New England landscape.
Deceptively simple style (reason for popular)
Symbolism (show his poems’ deep meaning)
Traditional forms but modern themes (traditional elements and modern elements mingle together.)
Works
A Boy’s Will North of Boston Mountain Interval New Hampshire West-Running Brook Collected Poems A Further Range A witness Tree A Masque of Reason Steeple Bush A Masque of Mercy