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The house was carefully refurnished with the help of Frost's eldest daughter, Lesley Frost Ballantine.
VOA: special.2010.09.17
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The wonder of Frost is really in his tone, his way of saying things without saying them in so many words.
弗罗斯特的疑问存在于他的语调，他用极少的词语来叙述。
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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。
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Because it was April, there was still a danger of frost, or even snow, so some of the trees were wrapped up to protect them.
VOA: standard.2010.08.09
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Virgil alludes to just this passage in Homer when he describes the entrance of a whole crowd of people in to the underworld as "the falling of leaves in the early frost of autumn."
维吉尔只是在荷马中影射了这点,他描述了通往人群拥挤的地狱的入口,如同“在深秋严寒中无情飘落的叶子“
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However,it is not that simple. Randy Frost is a psychologist at Smith College in the American state of Massachusetts.
VOA: special.2011.02.22
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In fact, love and desire are really at the center of Frost's poetry.
事实上爱和欲望是他诗作的中心。
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University of Arizona extension experts say covering plants and small trees with cloth or paper can help prevent frost damage.
VOA: special.2010.01.12
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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。
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So far, I've been stressing a kind of anti-Romantic side of Frost, how he seems to be saying, "Nothing but the facts, please."
到现在我一直强调的是一个反浪漫主义的弗罗斯特，他像是说着“除了事实没有其他的“
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What difference would it make had Frost, as he could have, I suppose, reversed the order of lines 13 and 14?
如果把13行与14行颠倒之后，会发生什么呢？
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Poetry, in Frost, is action, not a matter, as Wordsworth would say, of emotion recollected in tranquility.
就像华兹华斯说的诗歌对于弗罗斯特是动作不是事情，不是冷静时收集的情绪。
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Frost describes it here, movingly, as, well, an image of a home that is lost, of a home that has failed.
弗罗斯特动情地描述了那栋房子，一个丧失了家的房子的画面，和一个失败的家庭。
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Things are not "made up" in Frost, "not made up" in the sense of imagined, called up out of thin air, like fairies and elves.
弗罗斯特的诗歌里没有编造，没有想象，像仙女和精灵那样的凭空想象。
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Beside this one of many tools in Frost, I asked you to pay attention to tools in his poetry as you read it over the weekend.
除了找一个弗罗斯特的工具，我想让你们注意到他诗中的工具,在你们读这周的诗歌时。
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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。
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You don't think of Frost as a love poet.
你们肯定不认为他是爱情诗人。
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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。
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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。
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All of the poets we read, even that New England hayseed, Robert Frost, begin their careers in metropolitan centers, primarily in London and New York.
我们阅读过的所有诗人，包括新英格兰的乡巴佬弗罗斯特，在大都会的中心开始了他们的职业生涯，首要的是伦敦和纽约。
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I imagine that you all have images of Robert Frost and actual images in your mind when you think of this poet.
我觉得你们对弗罗斯特都有一定的印象,当想到这个诗人的时候脑海就会浮现他的图像。
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Frost is a kind of materialist, by which I mean he calls attention to the circumstances of imagination, its limits and conditions.
弗罗斯特是个唯物主义者，这样说的原因是他引起了人们对,想象的环境的注意，它的限制和条件。
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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。
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Here, well, people are locked into themselves in Frost and in their points of view.
这里，在弗罗斯特的诗里，人们被自己困扰,在他们的角度来看。
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Note Frost's use of words like "something" and "perhaps."
注意他的用词如“一些““也许“
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There is in Frost no God, no transcendental source of guidance or consolation, nothing out there in the world but the material conditions of our circumstances.
在弗罗斯特的诗里，没有上帝，没有卓越的指引和安慰，这个世界里什么都没有,除了我们生活环境的物质条件。
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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。
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The whisper is not, Frost specifies, a "dream of the gift of idle hours.
弗罗斯特指出这些低语不是“闲散时间的白日梦“
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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。
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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。
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