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April 2005 Updrafts
Chaparral from the California Federation of Chaparral Poets, Inc. serving Californiaupdr poets for over 60 yearsaftsVolume 66, No. 3 • April, 2005 President Ted Kooser is Pulitzer Prize Winner James Shuman, PSJ 2005 has been a busy year for Poet Laureate Ted Kooser. On April 7, the Pulitzer commit- First Vice President tee announced that his Delights & Shadows had won the Pulitzer Prize for poetry. And, Jeremy Shuman, PSJ later in the week, he accepted appointment to serve a second term as Poet Laureate. Second Vice President While many previous Poets Laureate have also Katharine Wilson, RF Winners of the Pulitzer Prize receive a $10,000 award. Third Vice President been winners of the Pulitzer, not since 1947 has the Pegasus Buchanan, Tw prize been won by the sitting laureate. In that year, A professor of English at the University of Ne- braska-Lincoln, Kooser’s award-winning book, De- Fourth Vice President Robert Lowell won— and at the time the position Eric Donald, Or was known as the Consultant in Poetry to the Li- lights & Shadows, was published by Copper Canyon Press in 2004. Treasurer brary of Congress. It was not until 1986 that the po- Ursula Gibson, Tw sition became known as the Poet Laureate Consult- “I’m thrilled by this,” Kooser said shortly after Recording Secretary ant in Poetry to the Library of Congress. the announcement. “ It’s something every poet dreams Lee Collins, Tw The 89th annual prizes in Journalism, Letters, of. There are so many gifted poets in this country, Corresponding Secretary Drama and Music were announced by Columbia Uni- and so many marvelous collections published each Dorothy Marshall, Tw versity. -
Robert Frost╎s Theory and Practice of Poetry
/~/ ROBERT FROST’S THEORY AND PRACTICE OF POETRY A THESIS SUN~ITTED TO THE FACULTY OF ~TLANTh UNIVERSITY IN PARTIAL FULFILII4ENT OF ThE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS BY EMMA L • YORK DEPARTMENT OF ENGLISH ATLANTA, GEORGIA MAY 1967 ~ ~ ~53 /J~:.5 TABLE OF CONTENTS Page PREFACE iii INTRODUCTION . vi Chapter I. Frost’s Theory of Poetry . I. II. Major Themes in Frost’s Poetry 16 III. Frost’s Language and Style 30 CONCLUSION . 49 B IBLIOGR.APHY . 5 1 11 PREFACE Although Robert Frost occupies a unique position in modern poetry, he has not received the careful critical evaluation his work deserves. Anyone who has studied the numerous articles and books about him is quick to note that much has been done in the way of biographical sketches, regional vignettes, and appreciation, but little effort has been made to examine the poetry itself. There are many reasons for this lack of serious consideration. The main cause, however, is to be found in the very nature of his art. The poetry he has written is of a type distinctly different from that of his major contemporaries. At first glance, his work has an unusual simplicity which sets it apart. Frost’s poetry does not conform to any of the conventional devices characteristic of modern poetry. Modern poetry often exhibits obscurities of style and fra~nentary sentences, whereas, Frost’s sentences are clear. In modern poetry the verse forms are irregular with abrupt shifts from subject to subject. Frost’s language is conventional - close to everyday speech. Because he demands less erudition in the reader, his poetry may appear to lack the depth of thought that is found in the best modern verse. -
A Bibliography of Edwin Arlington Robinson, 1941-1963
Colby Quarterly Volume 7 Issue 1 March Article 3 March 1965 A Bibliography of Edwin Arlington Robinson, 1941-1963 William White Follow this and additional works at: https://digitalcommons.colby.edu/cq Recommended Citation Colby Library Quarterly, series 7, no.1, March 1965, p.1-26 This Article is brought to you for free and open access by Digital Commons @ Colby. It has been accepted for inclusion in Colby Quarterly by an authorized editor of Digital Commons @ Colby. White: A Bibliography of Edwin Arlington Robinson, 1941-1963 Colby Library Quarterly Series VII March 1965 No.1 A BIBLIOGRAPHY OF EDWIN ARLINGTON ROBINSON, 1941-1963 By WILLIAM WHITE HIS bibliography of Edwin Arlington Robinson is a supple T ment to Charles Beecher Hogan's "Edwin Arlington Robin son: New Bibliographical Notes," The Papers of the Biblio graphical Society of America (New York), Vol. XXXV, pp. 115-144, Second Quarter 1941, which itself supplements Mr. Hogan's admirable A Bibliography of Edwin Arlington Robin son (New Haven: Yale University Press, 1936). I have fol lowed Mr. Hogan's organization and style, with some slight modifications, particularly in the descriptions of books by Robinson. Although an attempt has been made to be as com plete as possible, I certainly do not approach Mr. Hogan's work in this respect. While he says (on p. iii of his Bibliography) that his book is "intended primarily for collectors," the present supplement is meant for scholars and critics who would like to know what has been written on the creator of "Luke Havergal" and "Miniver Cheevy" in the past t\venty-two years. -
April Showers
PARTART 2 Realism and Naturalism Mrs. Charles Thursby, 1897–1898. John Singer Sargent. 3 Oil on canvas, 78 x 39 /4 in. Collection of The Newark Museum. “There are two ways of spreading light: to be The candle or the mirror that reflects it.” —Edith Wharton, “Vesalius in Zante” 531 The Newark Museum/Art Resource, NY 0531 U4P2-845481.indd 531 4/7/06 6:06:33 PM LITERARY HISTORY The Two Faces of Urban America N THE LATE NINETEENTH AND EARLY twentieth centuries, despite the emergence of a Igrowing middle class, rapid industrialization created two sharply contrasting urban classes: wealthy entrepreneurs and poor immigrants from Europe and Asia who provided them with cheap labor. Although dependent upon each other, these two groups seldom met, as they lived in starkly different neighborhoods. The wealthiest families established fashionable districts in the hearts of cities, where they built fabulous mansions. By contrast, the majority of factory workers squeezed into dark, overcrowded tenements where crime, violence, fire, and disease were constant threats. U.S. writers of the time responded to and reflected these urban conditions in their novels, stories, essays, and articles. Picnicking in Central Park, 1885. Robert L. Bracklow. Black and white photograph. “The entire metropolitan center possessed a high and mighty air her heroine Lily Bart’s descent from wealth into poverty is mirrored by a decline in the houses she is calculated to overawe and abash the forced to inhabit. common applicant, and to make the Wharton’s older contemporary and friend Henry James gulf between poverty and success was born into a distinguished Boston family in 1843. -
Robert Frosts Poetry: the Duality of the Senex
ROBERT FROSTS POETRY: THE DUALITY OF THE SENEX SONJA VALČIĆ UDK: 820(73).FROST, R. Filozofski fakultet u Zadru Izvorni znanstveni članak Faculty o f Philosophy in Zadar Original scientific paper Primljeno. 1999_10_12 Received The senex archetype in Frost's poetry is used extensively, it serves him to portray three antithetical aspects of human condition, aspects characterized by both positive and negative categories. These categories are not portrayed as static divisions, but as poles dinamically and complexly interrelated. This paper examines three of Frost's works "Mending Wall", "An Old Man's Winter Night" and "Directive" as examples for the study of the paradoxical senex consciousness. While the archetypal senex figures in the "Directive" and "An Old Man's Winter Night" represent primarily the antithetical aspects of the nature of humans, the senex protagonists in the "Mending Wall" reflect the inherent binary oppositions and ambivalence within the contradictory and paradoxical world of humankind. Thus, we can say, that Frost's portrayal of the archetype of the senex acknowledges the symbolic paradigm of the human condition. I. Robert Frost has long been considered the "Wise Old Man" of American twentieth-century poets, not simply because of his public persona, or mask, but because, as I shall explore in this paper, so much of his poetry and the characters in his poetry manifest the temperament, nature, principles and ordering qualities of the senex archetype. Senex is the Latin word for old man (or old woman). Personifications of the archetype appear everywhere in Frost's work as the guide, judge, father, mentor, philosopher, literate farmer, king, ruler (President and Governor), preacher, hermit, outcast, exile and ogre. -
Ambivalence in the Poetry of Robert Frost Approved
AMBIVALENCE IN THE POETRY OF ROBERT FROST APPROVED: / /' 4- fell Major Professor •f l> Minor Frofessoi Director of the Department, of English Dean of the Graduate School AMBIVALENCE IN THE POETRY OF ROBERT FROST THESIS Presented to the Graduate Council of the North Texas State University in Partial Fulfillment of the Requirements For the Degree of MASTER OF ARTS By- Patricia F. White, B. A. Denton, Texas August, 1967 TABLE OP CONTENTS Chapter Page I. INTRODUCTION 1 II. AMBIVALENCE: A CENTRAL ASPECT OF FROST'S POETRY 14 III. ESCAPE AND RETURN ..... 28 IV. ADVANCE AND RETREAT ..... 39 V. ROMANTICISM AND REALISM 58 VI. FAITH AND SKEPTICISM 77 VII. CONCLUSION 93 BIBLIOGRAPHY 97 in CHAPTER I INTRODUCTION / One of the most striking features of Frost's poetry / \ noted by critics who have surveyed the body of his work is that quality which has been variously described in such ^ terms as contrariety, polarity, contradiction, or opposition and which is referred to in this study by the all-inclusive x term ambivalence. Critics have responded to this quality in Frost with varying degrees of both sympathy and antipathy, the particular response depending, at least in part, on the temperamental bias that the critic, no matter how carefully he guards his objectivity, brings to his subject. Among those critics who deny to Frost a front rank position among the great poets of the century, especially those critics who eye with suspicion Frost's enormous popularity among the Philistines, it seems to be those qualities related directly or indirectly to his ambivalence that are a chief target of critical comment. -
“Mending Wall” by Robert Frost
FROST POETRY ANALYSIS DIRECTIONS: Complete the TP-CASTT analysis chart for your group poem. You only need one paper per group, but you are all responsible for presenting your poem to the class. You each must speak and contribute to the presentation. TP-CASTT –an acronym for title, paraphrase, connotation, attitude, shift, title (again), and theme—is designed to help you remember the concepts you can consider when examining a poem. This is not a lockstep sequential approach, but rather it is a fluid process in which you will move back and forth, among the various concepts. For example, in examining connotations of a line, you may also notice a shift, which in turn may give you an insight into theme. Title (before reading) Although titles are often keys to possible meanings of a poem, students frequently do not contemplate them either before or after reading poetry. As a first step in the analysis of a new poem, look at the title and predict what the poem may be about. Paraphrase Another aspect of a poem often neglected by students is the literal meaning—the “plot.” Frequently, real understanding of a poem must evolve from comprehension of “what’s going on in the poem.” Try to restate a poem in your own words, focusing on one syntactical unit at a time—not necessarily on one line at a time. Another possibility is to write a sentence or two for each stanza of the poem. Connotation Although this term usually refers solely to the emotional overtones of word choice, here it indicates that you should examine any and all poetic devices, focusing on how such devices contribute to the meaning, the effect, or both of a poem. -
Proposed FY20 Budget
Proposed Fiscal Year 2020 Town Library Budget Jones Library Munson Memorial Library North Amherst Library Proposed FY20 Budget 2020Approved by the Board of Trustees March 26, 2019 Topic Page Vision Statement people from all over mutually beneficial Long Range Plan The Jones Library staff 1-3 will create a welcoming the world, helping to relationships with Highlights atmosphere for ensure a vibrant other Amherst town everyone, and will be business community. departments, with Departmental libraries and other 4-15 deeply engaged and Accomplishments committed to A strong base of relevant departments maintaining the highest committed volunteers and offices at Holdings, levels of professionalism will augment the surrounding colleges and providing and universities, C/W Circulation, 16-21 Library staff and be exceptional customer recognized for their MARS as well as with Usage, & Value service. important other local business contributions, helping and cultural entities. Challenges 22-23 The Board of Trustees, the Jones Library Friends of the Jones remain strong and The Library will Budget Summary 24-27 Library System, and staff connected to the actively welcome and will provide leadership entire community. encourage access by so that the town of The Library will use members of our State Aid 28-29 Amherst and its the skills and interests community with residents will continue of each volunteer as economic and social Limitations, to support the Library, they align with the disadvantages. Impacts, & 30-31 including financially and needs of the Library. Concerns by volunteering. The Jones Library will Income, The Jones Library will develop and maintain Endowment, 32-37 help provide Amherst Friends & Donors with state-of-the-art technologies and will Expenses 38-40 provide instruction and Mission Statement support for those Staff, Volunteers seeking to use The Jones Library will community can enhance their & Community 41-45 technology. -
Birches & Mending Wall King’S Word Academy BIRCHES When I See Birches Bend to Left and Right Across the Lines of Straighter Darker Trees
Literature Birches & Mending Wall King’s Word Academy BIRCHES When I see birches bend to left and right Across the lines of straighter darker trees. I like to think some boy’s been swinging them. But swinging doesn’t bend them down to stay 5 As ice storms do. Often you must have seen them Loaded with ice a sunny winter morning After a rain. They click upon themselves As the breeze rises, and turn many-colored As the stir cracks and crazes their enamel. 10 Soon the sun’s warmth makes them shed crystal shells Shattering and avalanching on the snow crust- Such heaps of broken glass to sweep away You’d think the inner dome of heaven had fallen. They are dragged to the withered bracken by the load. 15 And they seem not to break: though once they are bowed So low for long, they never right themselves: You may see their trunks arching in the woods Years afterwards, trailing their leaves on the ground Like girls on hands and knees that throw their hair 20 Before them over their heads to dry in the sun. But I was going to say when Truth broke in With all her matter of fact about the ice storm, I should prefer to have some boy bend them As he went out and in to fetch the cows- 25 Some boy too far from town to learn baseball. Whose only play was what he found himself. Summer or winter, and could play alone. One by one he subdued his father’s trees By riding them down over and over again 30 Until he took the stiffness out of them And not one but hung limp, not one was left For him to conquer. -
A Bibliography and Analysis of Robert Frost Monographs in the Rare Book Collection at the University of North Carolina at Chapel Hill
April S. Brewer. The First Editions of Robert Frost: A Bibliography and Analysis of Robert Frost Monographs in the Rare Book Collection at the University of North Carolina at Chapel Hill. A Master’s Paper for the M.S. in L.S degree. April, 2007. 41 pages. Advisor: Charles B. McNamara This paper is a detailed analysis of the first edition monographs by four-time Pulitzer Prize winning poet Robert Frost in the Rare Book Collection (RBC) at the University of North Carolina at Chapel Hill. It includes a biographical sketch and information about the collection, including the donation of a large amount of materials by Clifford P. Lyons, a former UNC professor. This paper also compares the RBC's collection to other notable Frost collections. The bulk of this paper is a detailed bibliography with a condition analysis of the first editions held by the RBC. There is also a detailed desiderata list and recommendations for the future development for the RBC's Frost collection. Headings: Frost, Robert, 1874-1963 – Bibliography Special collections – Collection development University of North Carolina at Chapel Hill. Rare Book Collection. THE FIRST EDITIONS OF ROBERT FROST: A BIBLIOGRAPHY AND ANALYSIS OF ROBERT FROST MONOGRAPHS IN THE RARE BOOK COLLECTION AT THE UNIVERSITY OF NORTH CAROLINA AT CHAPEL HILL by April S. Brewer A Master’s paper submitted to the faculty of the School of Information and Library Science of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Master of Science in Library Science. Chapel Hill, North Carolina April 2007 Approved by _______________________________________ Charles B. -
1 Robert Frost Poems Robert Frost (1874-1963) Was an American Poet
1 Robert Frost Poems Robert Frost (1874-1963) was an American poet most associated with the characters and cadences of New England. He won the Pulitzer Prize for poetry four times and became the most well-known poet of the twentieth century in America. He read his poem “The Gift Outright” at the inauguration of John F. Kennedy in 1961. His collections include A Boy’s Will (1913), North of Boston (1914), and Collected Poems (1931). Birches (1916) When I see birches bend to left and right Across the lines of straighter darker trees, I like to think some boy's been swinging them. But swinging doesn't bend them down to stay. Ice-storms do that. Often you must have seen them Loaded with ice a sunny winter morning After a rain. They click upon themselves As the breeze rises, and turn many-colored As 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 away You'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 are bowed So low for long, they never right themselves: You may see their trunks arching in the woods Years afterwards, trailing their leaves on the ground Like girls on hands and knees that throw their hair Before them over their heads to dry in the sun. 20 But I was going to say when Truth broke in With all her matter-of-fact about the ice-storm (Now am I free to be poetical?) I should prefer to have some boy bend them As he went out and in to fetch the cows-- Some boy too far from town to learn baseball, Whose only play was what he found himself, Summer or winter, and could play alone. -
Chapter - IV CHAPTER-IV
Chapter - IV CHAPTER-IV THE FROST UNIVERSE: A STUDY IN MAJOR IMAGES AND SYMBOLS "Pipes in hands": Early Phase (1913 - 1916) His (Frost's) primary artistic achievement, which is an enviable one, in spite of shortcomings, rests on his blending thought and emotion and symbolic imagery within the confines of the lyric. It would seem to be an essential part of both his theory and practice to start with a single image, or to start with an image of action, and then to endow either or both with a figurativeness of meaning, which is not fully understood by the reader until the extensions of meaning are found to transcend the physical. Thompson, Lawrance. Robert Frost. Minneapolis: University of Minnesota Press, 1959. 38. ... [I]n Frost the symbol, presented (mite casually as an image, opens outward upon a vista of meaning. The vista does not have any definite terminus and in the farthest distance ifades into vague areas of suggestion. Lynen, John F. The Pastoral Art of Robert Frost. New Haven: Yale University Press, 1960. 27. Frost's firstAolume, A Boy's Will (1913), "the Record of a Phase of Post- adolescence"', begins with a sonnet "Into My Own". It opens up the nexus of Frostian imagery wedded to the dark woods. Since Frost's poetic being has been shaped and reshaped by the woods, and the woods and the poetic being are almost 71 inseparable in Frost poetry, the study of this chapter hence begins with our observations on woods imagery: One of my wishes is that those dark trees, So old and firm they scarcely show the breeze, Were not, as't were, the merest mask of gloom, But stretched away unto the edge of doom.