By Henry Lyman
Robert Frost has lengthy ruled the public's snapshot of latest England poetry, yet who're the poets who stick with him in time and the way have they expressed their visions of the panorama, the person, and the group? This quantity brings jointly the paintings of thirty exclusive poets to exhibit the energy and diversity of the region's poetic construction in the course of a lot of the 20 th century.
After Frost is released in organization with the recent England beginning for the arts, which has backed a application of interpreting and chat groups with poets around the zone utilizing this anthology.
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Additional resources for After Frost: an anthology of poetry from New England
Here is one portraying a half-wild colt trying to escape from his meadow: And now he comes again with clatter of stone, And mounts the wall again with whited eyes And all his tail that isn't hair up straight. Bang goes something big away Off there upstairs. (In the Home Stretch) And then from "Stopping by Woods on a Snowy Evening" there is the famous opening Whose woods these are I think I know. " There is far more to it of course than that ghostlike hollowness of repeated o's, the juggling of syntax, or the juxtaposition of New England speech and traditional meter; and in the end the artistry or luck involved is difficult if not impossible to define.
While speaking with very different voices, the poems tend to converse with one another from page to page, and I trust you will hear more consonance than pandemonium. Though I used the word "subjects" a moment ago, I doubt that any of these poems was begun with a definite subject in mind, or if so it probably changed as the poem evolved. "A poem," Frost wrote to a friend in 1915, "positively must not begin thought first. '' A poem, that is, whether it begins with the vaguest notion, a feeling, a mental image, a phrase, or a combination of these, usually discovers what it is thinking about only as it is being written.
Yet there is no lack of awe on his part. If anything, the inhumanness of nature makes it seem all the more inexplicable and compelling. The fading of a personality from nature marks the beginning of Page 14 modern American poetry. Walt Whitman celebrated nature ecstatically, in long, free-verse poems which occasionally embellish it with human features, but its essence for him is formless and impersonal. In Emily Dickinson's poems nature is personified, but only as a poetic device, and nature itself remains for her an enigma.