Mountain Interval, by Robert Frost
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
“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. -
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. -
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. -
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. -
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. -
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. -
Strange Ordinariness in Robert Frost: a Review
International Journal of Science and Research (IJSR) ISSN: 2319-7064 ResearchGate Impact Factor (2018): 0.28 | SJIF (2019): 7.583 Strange Ordinariness in Robert Frost: A Review Nabaneeta Bhatta Lecturer, Department of English, North Bengal International University, Rajshahi, Bangladesh Abstract: Robert Lee Frost is very famous and an oft-quoted poet. He is highly appreciated and admired for his realistic portrayal of rural life and his great expertise on American colloquial speech. Most of his astonishing works circle around the rural life settings in New England during early twentieth century. He used his own work to analyze complicated social and philosophical themes. While experimentalist twentieth century poets were falling over themselves to find new modes of expression , Frost reawakened readers to the power of the pastoral , the classic symbols of nature and countryside. This paper is a journey through this strange ordinariness in the pages of the celebrated poet-Robert Frost. Keywords: Ordinariness; Colloquial speech; New England; Everyday events 1. Introduction New England country sides are his primary subjects, the many different things to be heard and seen and experienced The deceptive simplicity of Frost‟s verse boosted his in his rich, rustic landscape. He depicted the fields and popularity among serious and casual readers alike. His farms of his surroundings, observing the details of rural life, poetry is very natural in its wording ;using words that which hide universal meaning. His images- woods, stars, most people can understand: that make his poetry seem houses, brooks are usually taken from everyday life. He practical and ordinary ;speaking in a natural, easily wrote poetry from common speech, direct expression, comprehensible manner. -
European Joint Master's Degree in English and American Studies
European Joint Master’s Degree in English and American studies Second Cycle (D.M 270/04) Final Thesis REALISTIC ASPECTS OF ROBER FROST’S “North of Boston” Supervisor Ch. Prof. Gregory Dowling Assistant supervisor Ch. Prof. Emily Raboteau Graduand Camilla Canova Matriculation Number 855151 Academic Year 2016 / 2017 to Erich Auerbach, even if you are dead, your work keeps inspiring generations of scholars TABLE OF CONTENTS FOREWORD ................................................................................................ 1 Introduction ............................................................................... 3 Chapter 1 1.1 The problem of realism ............................................................9 1.2 The quarrel of the metaphor...................................................22 Chapter 2 2.1 The visual aspect: the image and its denotative value .......... 29 2.2 Dramatic technique and realistic effects ............................... 42 Chapter 3 3.1 The intersection of realism and narratology .......................... 56 3.2 Language and realism ........................................................... 69 3.3 Realism, versification, and rhyme .......................................... 77 Conclusions .............................................................................................. 86 Acknowledgements ................................................................................ 89 WORKS CITED .......................................................................... 91 FOREWORD Countless pages -
A Study of Robert Frost Mysticism
International Journal of Research in Economics and Social Sciences (IJRESS) Available online at: http://euroasiapub.org Vol. 8 Issue 4, April- 2018 ISSN(o): 2249-7382 | Impact Factor: 6.939 | A Study of Robert Frost Mysticism Eknath Devidasrao Tatte Abstract Frost is regarded basically as a philosophical poet who always uses the pastoral setting as a modus operandi for his inquiries in to the nature and meaning of life. He is more difficult writer than what we often suppose. He is complicated poet with contradictions. A close study of Frost’s poetry makes us know much about his views on man, God and nature and his views are a measure of his wisdom and profundity. Keywords: God and Nature, Wisdom and Profundity Introduction We come across Frost's richness and depth of thoughts in his poetry. Many critics attempted to show his association with contemporary movements but he created philosophical and mystical tradition of his own. His poems are often coupled with elements of both Oriental and Western philosophy and mysticism. Several critics misinterpret Frost as a spiritual drifter. As a matter of fact, Frost was essentially a religious poet and a great mystic. He set up his religious belief in Swedenborgian Mysticism. It was Darwinian Theory that shattered him but he reaffirmed his belief in a spiritual reality. He tends to relate the individual self to the divine. Swedenborgian Mysticism was a crucial part of Frost's mother and this hierarchy of mysticism is inherited by Frost. Mysticism Mysticism in a brief is the existence of realities beyond intellectual apprehension that are directly accessible by subjective experience. -
From Mountain Interval
From Mountain Interval Robert Frost From Mountain Interval Table of Contents From Mountain Interval...........................................................................................................................................1 Robert Frost....................................................................................................................................................1 THE ROAD NOT TAKEN............................................................................................................................1 AN OLD MAN'S WINTER NIGHT.............................................................................................................1 The Exposed Nest..........................................................................................................................................2 A Patch of Old Snow.....................................................................................................................................3 The Telephone................................................................................................................................................3 Meeting and Passing......................................................................................................................................4 Hyla Brook.....................................................................................................................................................4 The Oven Bird................................................................................................................................................4