-
The house was carefully refurnished with the help of Frost's eldest daughter, Lesley Frost Ballantine.
VOA: special.2010.09.17
-
Frost says at the time that he's publishing A Boy's Will, to a friend: You mustn't take me too seriously if I now proceed to brag a bit about my exploits as a poet.
他在发表第一本书时对一个朋友说：,不要对我太认真,如果我现在吹嘘自己已是一位诗人。
-
Yeah, so Frost is one of my favorite poets. I think Frost is interesting because he's a poet who is very popular
所以，罗伯特也是我最喜欢的诗人之一。我对他感兴趣是因为他很有名，
-
But, Frost stresses, poetry is not only that; it's something more.
但是弗罗斯特强调说诗歌不只是这些，它说明更多的东西。
-
For "earth's the right place for love," Frost says.
因为“你要爱，就扔不开人世，“弗罗斯特说。
-
The problems that Frost's poetry poses for us as readers are not problems of reference. They can't be solved by footnotes.
他的诗歌给我们的困难,不是参考的问题，它们不能就用脚注解决。
-
Frost as a narrator, in these great poems I'm describing, frames his people's words minimally, with few bits of narrative information.
作为一个叙事者，弗罗斯特在我所说的那些伟大的诗歌中，最低程度地用框架框住人的语言，夹杂着少许叙事的信息。
-
Compare the footnotes in the Frost poems to the footnotes in The Norton that you find next to Eliot or Pound's poems.
把弗罗斯特的脚注跟诺顿的比较,就是在艾略特和庞德旁边的那个。
-
This is a poem written in the depth of the Depression and also at the height of Frost's fame.
这是一首写在经济危机时候的诗,也是在弗罗斯特最有名的时候。
-
Meter is something regular; it's a fixed scheme; it's inflexible, as Frost conceives of it here.
节拍是有规律的东西，是固定的排列;,这里弗罗斯特构想的是它是不变的。
-
His father's death, when Frost was a boy, represented, among other things, an economic crisis for his family. Frost's schooling was erratic.
他小时候父亲去世，因为他家陷入了经济危机,所以他上学总是断断续续。
-
The special sound of Frost's poems result from the tensions between these pairs of opposing forces as they are embodied in his language.
这种诗歌的特别声音来自这种紧张,这种反抗力量之间的紧张,都在他的诗歌中得到体现。
-
In that meter, too, we're hearing some of Frost's modernity.
在这种格律中，我们也能感受到弗罗斯特的现代性。
-
And, yet, Frost's attention is drawn, interestingly, to a playhouse that is part of that household.
这吸引了弗罗斯特的注意力，很有趣吧，让他注意到了这房子是这家人的一部分。
-
And let's keep in mind Frost's own wish to create a poetry that would reach ordinary people and would reach all kinds and sorts.
我们要记住弗罗斯特想,写出更够被普通大众所理解的,被广为接受的诗歌的愿望。
-
Note Frost's use of words like "something" and "perhaps."
注意他的用词如“一些““也许“
-
They structure Frost's work as a poet and his ongoing inquiry into that work. Frost poems perform a kind of phenomenology of work, of labor.
它们构成了他称其为诗人的工作,和他不断的问询，他的诗歌表现出,劳动的现象。
-
Frost's "sound of sense," the abstract vitality of our speech.
弗罗斯特的“感性的声音“或者是我们讲的抽象活力。
-
In "Mowing," the poem's lines are like sweeps of the scythe as it lays down rows of swale. Frost wants us to think about that.
在“割草“中字里行间就像是镰刀扫过,当它放倒一排排的麦子时，弗罗斯特想要我们仔细思考。
-
This move roots Frost's poetry of work in the lives of rural workers, people who have to sustain and entertain themselves, often on their own or alone.
这运动将弗罗斯特的诗歌扎根进,乡村工人的生活中，扎根进必须独自，支撑和娱乐他们自己的人中。
-
It's important for thinking about Frost's place in modern poetry.
思考弗罗斯特在现代诗歌上的地位非常重要。
-
You can see how it's laid out. This is the Frost who published that book. This is Frost at thirty-nine, Frost in a suit made by a London tailor in London.
可以看看是怎么排列的，这个是弗罗斯特,当时发表那本书的时候，这个是他39岁，在伦敦穿着伦敦裁缝做的西装。
-
It's a counter-weight to Frost's romantic longing.
这是弗罗斯特浪漫的希望的对立力量。
-
Well, that's a version of what we hear in the poem when we hear the forms of strained relation between Frost's dynamic speech sounds and the metrical pattern of his writing.
这是我们从这首诗中领略到的一种版本,当我们感受到这种紧张的关系,在弗罗斯特的动态的语言音律,和他写作的韵律结构之间。
-
Well, in Frost's case, as I'm suggesting, there's often very skillful and complex imitation going on between Frost's sounds and what he's imaging or describing or the actions and events in the poem.
对弗罗斯特的诗来说，像我所说的，有很多非常有技巧并且很复杂的仿照,在弗罗斯特的音律,和他所描绘的画面,或者诗里的行为和事件之间。
-
This is, I think, really also a version of poetic activity that has some sources in and has a lot in common with Robert Frost's, as we will see on Monday. Thank you.
我认为这点确实是诗人活力的一种,部分源于弗罗斯特，并和他有着相同之处，我们会在周一继续讲，谢谢你们。
-
I've been stressing Frost's solitude.
我一直在强调弗罗斯特的孤独。
-
It's the--Frost is so sly.
弗罗斯特很狡猾。
-
And that's another kind of doubleness in Frost.
这也是弗罗斯特的另一种双重写照。
-
But cutting is something fearful and forceful; it's a kind of controlled violence. Frost takes it for granted that we will remember that the scythe is a conventional image for time, which harvests all of us in death.
但是割草是很有力的也是很可怕的;,这是一种控制中的蛮力，弗罗斯特认为,我们将把镰刀作为时代的产物记住，镰刀一直收获直到我们死去。
应用推荐