Unit-Ii Poetry

Total Page:16

File Type:pdf, Size:1020Kb

Unit-Ii Poetry GENERAL ENGLISH: I YEAR - SEMESTER I HANDOUTS UNIT-II POETRY Lesson-1 The Road Not Taken - Robert Frost About the Poet: Robert Frost (1874-1963), was an American poet. His poems are mainly concerned with real situations, the rustic life of the countryside and landscape. The poems though they appear simple on the surface, are actually thought-provoking. They follow his own view on poetry that „a poem begins in delight and ends in wisdom.‟ Four times Pulitzer prize winner(1924, 1931, 1937, 1943), his volumes of poetry are A Boy’s Will (1913), North of Boston (1914), The Mountain Interval (1916), New Hampshire (1923), West Running Brook (1928), A Further Range (1936), A witness Tree (1942), Steeple Bush (1947) and Complete Poems(1951). The present poem, The Road Not Taken was first published in 1916 and it is the first poem of The Mountain Interval. Central Idea: One day while travelling alone, the poet reached a point where the road bifurcated into two. He could not decide which way to go. Since he is only one traveler he could not travel both and he took long time to decide as to which road to take. He even tried to look for the end. Finally he chose the one that seemed a little less frequented though he himself admits that there is actually no such difference. Though he had doubts about his return he says that he kept the other road for another road. At the end the poet remarks that his decision has made all the difference not specifying whether it is for good or bad. The poet leaves much to the imagination of the readers. The poem speaks of how we are often forced to make decisions involving alternatives that appear almost equally pleasant in all respects. But such choices are irrevocable and may lead to either regret or a sense of achievement later in life. The theme appeals to everyone, as the need to choose the right path is a problem often faced in life. In this poem Frost represents the choices by using the image of two roads that lead away from a common point. The person standing at the junction is in a dilemma and ponders on which one to choose. Both seem appealing, but indecision arises as their ends are not visible .The traveler has to take a decision on the basis of whatever he can see. Even after the choice is made, the traveler might regret not choosing the other. The road not taken might always seem a better choice when hurdles appear on the chosen road. However it is important to understand that difficulties could appear on any path. It is also wise not to regret a decision after it is made, as two roads can never be the same. Frost uses the image of two roads diverging in a wood to effectively convey the sense of dilemma as well as uncertainty with regard to the consequence of the decision taken. However, the end of the poem also warns the reader of the consequences of taking a „less travelled road‟, that is, experimenting with new ideas. It teaches us to accept our decisions and face their consequences without regretting what we did not do. Frost consciously uses the technique of making descriptions of everyday situations or events and symbols of profound truths. The Road Not Taken is characterized by frost‟s usual simple style, that is marked by ordinary, straightforward language, great emotional restraint and understatement. Critical Analysis: Frost wrote the poem in the first person. In 1961, Frost himself commented that “The Road Not Taken” is “a tricky poem, very tricky."The Road Not Taken" is a narrative poem consisting of four stanzas of 5 lines each in iambic tetrameter. The rhyme scheme is ABAAB; the rhymes are strict and masculine. Those who opt for the less traveled path are supposed to have independent thinking and move away from the others ( who adhere to conformity). The poem has much philosophical significance and it also throws light on positive thinking never to regret about the past, a part of personality development. Lesson-2 Night of the Scorpion - Nissim Eziekel About the poet : Nissim Ezekiel (1924-2004) was born in Mumbai, India. His collections of poems include A Time to Change (1951), Sixty Poems (1953), The Third (1958), An Unfinished Man (1960), The Exact Man (1965), and Hymns in Darkness (1976). He often employs direct and conversational tone to convey his moods and thoughts in his poetry. His poems are mostly satirical, confessional and contemplative. He was the recipient of Sahitya Akademi award (1983) and Padma Sri (1988). The present poem is a part of his anthology, The Exact Man. Central Idea : Set in the backdrop of rustic situation evocative of Indian ethos, the poem has a touch of gentle irony. The poet narrates by recalling his childhood experience how his mother was stung by a poisonous scorpion. Continuous down pouring of rain for ten hours had driven the scorpion to hide beneath a sack of rice. After injecting poison and inflicting unbearable pain upon the mother with its venomous sting, the scorpion risked the rain again. The peasants of the village came like swarms of flies and expressed their sympathy. Despite their frantic searches they couldn‟t find the scorpion and they remarked that with every movement that the scorpion made, its poison would move in mother‟s blood. They expressed their superstitious remarks saying that the sins of her previous birth be burnt away that night, suffering decrease the misfortunes of her next birth, the sum of evil in this unreal world be diminished by her pain and also that the poison might purify her flesh of desire and spirit of ambition. Confusion set in with many a neighbor, many more candles, lanterns and insects inside the hut and the endless rain outside. Mother twisted and groaned with pain on a mat in the mud hut. Her husband, a sceptic and a rationalist tried his hand on every curse and blessing, powder, herb and hybrid and even poured a little paraffin on the bitten part and put a match to it. The holy man came and played his part by performing his rites to tame the poison with an incantation. The dark and painful night lasted long and after twenty hours the poison lost its sting. The poem has a touching and pointed ending when the mother after passing through the panicky and laborious saga of suffering, says “Thank God the scorpion picked on me and spared my children” proving that nothing stands before love. Critical Analysis : Written in the first person narrative, the poem is about the agony that a son had undergone watching his mother suffer a scorpion bite. The poem is a portrayal of typical Indian village life with all its superstitious simplicity dramatizing many ideas which clash each other at night in dim lamp light. A contrast can be brought between good and evil, darkness and light, rationalism and blind faith. When the efforts of the irrational superstitious villagers, the rational father and the religious holy man prove to be futile, it is the mother‟s pure and selfless love for her children that emerges victorious. The deep rooted strains of superstition and blind faith of the villagers are juxtaposed with their concern for fellow beings, sympathy and cooperation. The evil forces in the poem are the poisonous scorpion and the dark, long and painful night. .
Recommended publications
  • Robert Frostâ•Žs 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • Joseph Varghse Robert Frost
    ROBERT FROST (1874-1963) "I never go down the shoreline [city in King County, Washington] to New York without watching the birches to see if they live up to what I say about them in the poem.” Robert Frost Elizabeth Shepley Sergeant [American journalist and writer] Describes – the way in which Robert Frost came to write "Birches” "As for the poet, 'who never saw New England as clearly as when he was in Old England,' he could not tie down his creative moments. It was about this time, early in 1914, while tramping the muddy yard at the Bungalow [West Midlands], that he suddenly; he says, wrote a new poem, not to be included in North of Boston. This was the now so famous and beloved 'Birches,' with its cold and crystal memories of another kind of wintry world.” in "Birches," even though Frost saw New England most clearly when he was in Old England, he re-viewed his wintry New England scene through Thoreauvian eyes” ○ Robert Frost and the New England Renaissance George Monteiro 100 Henry David Thoreau’s description anticipates Frost's handling of imagery- ○ “I love Nature partly because she is not man, but a retreat from him. None of his institutions control or pervade her. There a different kind of right prevails. In her midst I can be glad with an entire gladness… ○ If this world were all man, I could not stretch myself, I should lose all hope. He is constraint, she is freedom to me. He makes me wish for another world. She makes me content with this.
    [Show full text]
  • Teaching Robert Frost: a Common Core Close Reading Seminar
    Teaching Robert Frost: A Common Core Close Reading Seminar Sean McCann Professor of English, Wesleyan University National Humanities Center Fellow 2001-02 We will begin promptly on the hour. The silence you hear is normal. If you do not hear anything when the images change, e-mail Caryn Koplik [email protected] for assistance. Teaching Robert Frost GOAL To examine Frost’s poetry through close reading and consider how it can be both reassuring and disturbing at the same moment. americainclass.org 2 Teaching Robert Frost FROM THE FORUM How does Frost express complexity through simplicity? What, if any, impact did Frost have on other poets? Why would Frost write pastoral poetry at a time of massive urbanization? What is Frost’s relationship to the modernism of the 1920s? americainclass.org 3 Sean McCann Professor of English, Wesleyan University National Humanities Center Fellow 2001-02 A Pinnacle of Feeling: American Literature and Presidential Government (2008) Gumshoe America: Hard-Boiled Crime Fiction and the Rise and Fall of New Deal Liberalism (2000) americainclass.org 4 Teaching Robert Frost INTRODUCTION Focus on two poems: “The Road Not Taken” and “Mending Wall” (If time, “Death of the Hired Man.”) Why those two? General remarks about Frost’s poetry americainclass.org 5 Teaching Robert Frost Robert Frost (1874-1963) was among the major American poets of the 20th century. His achievement was distinctive and memorable. He came of age as a writer in an era when the most celebrated poetry was highly aestheticized— ornate, musical, and symbolic. And he began his career at a time when a rising new generation of modernists poets was throwing off that literary inheritance by writing complex, experimental verse that often looked nothing at all like traditional poetry.
    [Show full text]
  • Major Life Events of Robert Frost
    Major Life Events of Robert Frost: 1874 – Robert Frost is born in San Francisco on March 26 to William Prescott Frost Jr., a journalist from New Hampshire, and Isabelle Moodie, a schoolteacher from Scotland. “I know San Francisco like my own face…It’s where I came from, the first place I really knew…[It is] the first place in my memory, a place I still go back to in my dreams.”1 Named after General Robert E. Lee, whom his father admired. 1876 – Robert’s sister Jeanie is born. 1881 – Enters public school in the second grade, “excelling in geography and writing2. Later left elementary school after the third grade. “A pattern was put in place early in his life that would play out in distinct ways later on. Organized education, as he later said, was ‘never [his] taste.’”3 1885 – William Frost dies of tuberculosis. The Frost family is called back to the East Coast by William’s family for his funeral. “Frost absorbed from his father a great deal, including a feral drive to make something of himself, to exercise influence, to feel the world bending to his will…Frost’s lifelong…passion to excel and win in whatever he did [was] also a legacy from his father.”4 1885 – Frost family moves to New England. They first live with William Frost’s family in Lawrence, Massachusetts. Frost recalled, “At first I disliked the Yankees. They were cold. They seemed narrow to me. I could not get used to them.”5 1886 – Isabelle begins teaching at a school in Salem, a school which her two children also attend.
    [Show full text]
  • Investigation of the Musical Devices Used by Randall Thompson to Compose Works on the Text of Robert Frost
    M~ INVESTIGATION OF THE MUSICAL DEVICES USED BY RANDALL THOMPSON TO COMPOSE WORKS ON THE TEXT OF ROBERT FROST A Thesis Presented in Partial Fulfillment of the Requirements for the Degree Master of Arts by Jerome C. Maxwell, B.S. The Ohio State University 1966 Approved by Departme Music ACKNOWLEDGEME1~ The writer wishes to thank Dr. Wayne Ramsey and Prof. Dale Gilliland for their guidance in the preporatio~ of t~is study. The writer also wishes to thank his wife, Emmy, for her invaluable aid and encouragement. ii CHAPTER I INTRODUCTION _P_u_r~p;..o_s_e__o_f .~ study The purpose of this study was to analyze the musical set­ tings by Randall Thompson of seven poems of Robert Frost. The poems were studied from the standpoint of providing the conductor comprehensive understanding essential to a performance of these choral works. Too frequently the conductor performs choral compositions with little understanding of the significance of many musical and poetic factors involved in a choral setting. Posing such questions as the following would appear to be basic for gaining a comprehensive understanding of the music. 1. What is the meaning of the poem? What poetic devices have been used in develo~inG' this mcn!.1inc? 2. Does the musical setting seem to be appropriate to this meaning'? 3. What kinds of compositional devices has the composer used to enhance the text? 4. What problems regarding interpretation are evident from study of the score? 5. What technical problems are involved in the performance of the compositions? Answers to the above questions are pertinent to gaining 1 3 students if they are to gain some comprehension of music they are performing.
    [Show full text]
  • Abbreviations
    Abbreviations ABW: A Boy’s Will, Robert Frost (London: David Nutt, 1913). ACL: Amherst College Library, Amherst, Mas sa chu setts. AFR: A Further Range, Robert Frost (New York: Henry Holt, 1936). Agnes Scott: Special Collections and Archives, McCain Library, Agnes Scott College, Decatur, Georgia. Alger: Private collection of Pat Alger, Nashville, Tennessee. AL: Autograph letter, unsigned. ALS: Autograph letter, signed. ALS- photostat: Autograph letter, signed, photostat. AAP: Acad emy of American Poets, New York, New York. AWT: A Witness Tree, Robert Frost (New York: Henry Holt, 1942). Bauman: Bauman Rare Books, New York. Berkeley: Bancroft Library, University of California, Berkeley. Bodleian: Special Collections, Bodleian Libraries, University of Oxford. Bowdoin: Bowdoin College, George. J. Mitchell Department of Special Collections and Archives. BPL: Boston Public Library, Boston, Mas sa chu setts. BU: Boston University, Howard Gotlieb Archival Research Center. Chicago: University of Chicago, Special Collections Research Center, Chicago, Illinois. Columbia: Columbia University Library, New York. Cornell: Cornell University, Rare and Manuscript Collection, Cornell University Library, Ithaca, New York. xvi Abbreviations CP 1930: Collected Poems of Robert Frost (New York: Henry Holt, 1930). CP 1939: Collected Poems of Robert Frost (New York: Henry Holt, 1939). CP 1949: Complete Poems of Robert Frost (New York: Henry Holt, 1949). CPPP: Robert Frost: Collected Poems, Prose and Plays, ed. Richard Poirier and Mark Richardson (New York: Library of Amer i ca, 1995). CPRF: The Collected Prose of Robert Frost, ed. Mark Richardson (Cambridge: Harvard University Press, 2007). Crane: Robert Frost: A Descriptive Cata logue of Books and Manuscripts in the Clifton Waller Barrett Library, Joan St.
    [Show full text]
  • Translating Mimesis of Orality
    Translating mimesis of orality: Robert Frost’s poetry in Catalan and Italian Marcello Giugliano TESI DOCTORAL UPF / ANY 2012 DIRECTORS DE LA TESI Dra. Victòria Alsina Dr. Dídac Pujol DEPARTAMENT DE TRADUCCIÓ I CIÈNCIES DEL LLENGUATGE Ai miei genitori Acknowledgements My first thank you goes to my supervisors, Dr. Victòria Alsina and Dr. Dídac Pujol. Their critical guidance, their insightful comments, their constant support and human understanding have provided me with the tools necessary to take on the numerous challenges of my research with enthusiasm. I would also like to thank Dr. Jenny Brumme for helping me to solve my many doubts on some theoretical issues during our long conversations, in which a smile and a humorous comment never failed. My special thanks are also for Dr. Luis Pegenaute, Dr. José Francisco Ruiz Casanova, and Dr. Patrick Zabalbeascoa for never hiding when they met me in the corridors of the faculty or never diverting their eyes in despair. Thank you for always being ready to give me recommendations and for patiently listening to my only subject of conversation during the last four years. During the project, I have had the privilege to make two research stays abroad. The first, in 2009, in Leuven, Belgium, at the Center for Translation Studies (CETRA), and the second in 2010 at the Translation Center of the University of Massachusetts at Amherst, USA. I would like to give a heartfelt thank you to my tutors there, Dr. Reine Meylaerts and Dr. Maria Tymoczko respectively, for their tutoring and for offering me the chance to attend classes and seminars during my stay there, converting that period into a fruitful and exciting experience.
    [Show full text]
  • Just Who Was the First (Unofficial) Poet Laureate of the United States?
    Just Who Was the First (Unofficial) Poet Laureate of the United States? Robert Lee Frost (March 26, 1874 – January 29, 1963) was born in San Francisco, CA, the son of a teacher/journalist, William Prescott Frost, Jr., and Isabelle Moodie Frost. His father died when Robert was ten years old, and Robert moved to Lawrence, MA with his mother and his sister, Jeanie, to live with his paternal grandparents. Today, there is an elementary school named for Frost in Lawrence, MA. Frost graduated from Lawrence High School in 1892, co-valedictorian with the young woman who was later to become his wife, Elinor White. He attended Dartmouth College for one semester, but he was restless and returned home to teach and to work at various jobs. Frost’s first published poem, “My Butterfly: An Elegy” appeared in the New York Independent in November, 1894. He was paid fifteen dollars; this convinced him that he could write good poetry. In December of 1895, Robert finally married Elinor (she had turned him down before, because she wanted to finish college first). Their first child, Elliott, was born the following September in 1896. Frost decided to give formal education another try, and he entered Harvard in September, 1897 to study liberal arts, He left Harvard after two years without attaining a degree in order to work and support his young family. The Frosts’ second child, Lesley, was born in April of 1899. Their first son, Elliott, died of cholera in July, 1900, just a few months short of his fourth birthday. In October, 1900, the Frosts moved to a poultry farm in Derry, NH, which was purchased for them by Robert’s paternal grandfather.
    [Show full text]
  • Robert Frost Homestead
    Form No. 10-300 (Rev 10-74) U IN l 1 tu :> 1 A 1 L.:> utrAiT^ritirN i vr i ric. IIM i ui\iwi\ NATIONAL PARK SERVICE ^.'X^^ ;;*E«*^^ NATIONAL REGISTER OF HISTORIC PLACES i^m^M; :MW'^^-^ ^^.^^-^^^SM INVENTORY -- NOMINATION FORM iiAliiNli^Ei-;" :;^" ' : ^"" ' -"• ; ; '• "'•. ''X '!;f if SEE INSTRUCTIONS IN HOW TO COMPLETE NATIONAL REGISTER FORMS TYPE ALL ENTRIES -- COMPLETE APPLICABLE SECTIONS UNAME HISTORIC ROBERT FROST HOMESTEAD AND/OR COMMON Robert Frost Homestead HLOCATION Rockinghara Road STREET & NUMBER (New Hampshire Route 28) , 2 miles southeast of Derry Village r _NOT FOR PUBLICATION CITY TOWN CONGRESSIONAL DISTRICT Derry JL VICINITY OF First STATE CODE COUNTY CODE New Hampshire 033 Rockingham 015 O CLASSIFICATION CATEGORY x OWNERSHIP STATUS PRESENT USE —DISTRICT ..._PUBLIC —OCCUPIED —AGRICULTURE —MUSEUM __BUILDING(S) —PRIVATE •%—UNOCCUPIED —COMMERCIAL -PARK -STRUCTURE —BOTH -..WORK IN PROGRESS —EDUCATIONAL —PRIVATE RESIDENC —SITE PUBLIC ACQUISITION ACCESSIBLE —ENTERTAINMENT ..RELIGIOUS —OBJECT __IN PROCESS —YES: RESTRICTED —GOVERNMENT —SCIENTIFIC —BEING CONSIDERED —YES: UNRESTRICTED —INDUSTRIAL —TRANSPORTATION _ NO _ MILITARY _ OTHER: OWNER OF PROPERTY NAME State of New Hampshire, Division of Parks CITY. TOWN STATE Concord VICINITY OF New Hampshire (LOCATION OF LEGAL DESCRIPTION COURTHOUSE Registry of Deeds REGISTRY OF DEEDS, ETC STREET & NUMBER Rockingham County Court House CITY, TOWN STATE New Hampshire 3REPRESENTATION IN EXISTING SURVEYS TITLE Sites Associated with Robert Frost, New Hampshire and Vermont DATE 1968 X-.FEDERAL
    [Show full text]