If Robert Frost's poetry is to be fully prized, it must be recognized as possessing more than a single level of interpretation. Frost has long been thought to be a nature poet. Recent criticism, however, especially in the wake of Lawrance Thompson's biography, has begun to focus upon another Frost, a poet who wrote about the unhappinesses and barriers of human life as well as about the. sylvan beauty of his native New England.First and foremost, Frost was a poet of the human condition. His intent was to focus his gaze upon life. Life is shown in Frost's poems to contain many aspects of darkness which often seem concatenated in a series of depressions of the human spirit. Life, too, is occasionally terrifying, filling men with fear and uncertainty. One thing after another seems to attack the very vitals of man's contentment, and at times the unceasing nature of the attack would suggest man's ultimate defeat. This dissertation deals with several of these dark elements in Frost's poetry against which all of mankind must wage a continuing battle.Chapter one presents a view of the poet himself. If the-reader takes a brief but incisive look into the actual life of Frost, viewing the hardships, disappointments, fears, and failings of the man Frost, then the poet Frost will better be understood as a person capable of versifying about darker elements of the human condition. As a child, Frost was taught that a person must direct his powers against socalled insuperable odds if he is to succeed in a particular goal. This first chapter exhibits the forces against which Frost battled.The second chapter begins a discussion of dark elements of the human condition. Frost views man as being all alone in a seemingly unfeeling and unresponsive universe. Death presents itself as an answer, but man continues his search for the answer. Truth is the goal, but it is elusive, and comes only as a brief flicker. The search for what is true is often begun out of a sense of loneliness and frustration. Frost frequently indicated a human need for retreat from life's oppressiveness, but never did he indicate escape. He thought of escape as an act of finality, an act which can never be undone. Frost's symbol of escape, the "dark woods," must never be entered. Man must cope with his existence. He must not submit to the call of the unknown forest. When coping with life's hardships proves ineffectual, man must learn the value of "acceptance."The darkness of human loneliness is frequently the harbinger of man's most intense griefs. When man finds himself companionless, or when true communication has been interrupted between himself and his fellow men--at such times introspection becomes most intense. Too much introspection leads to a sense of alienation from the world and a desire to escape the world's influence.Even nature itself terrifies. Frost portrays nature as sometimes brutal and unfeeling, bestial. Man must control his fears of the natural world by exercising courage. Though natural forces are hostile, they do not act out of a design of evil. Nature is equally capable of benefitting man, breaking his darkness with images of light and hope such as stars, moon, and sun. These images point to the reality of Truth, to the existence of a reason for living, for struggling against life's oppressiveness. Thus, Frost did not allow the dark to go unbroken in his poems. He wished truth to be seen and recognized as the only force capable of dispelling the shadow of human ignorance and human despair, enabling man to survive in a milieu of darkness.It is hoped that this dissertation will familiarize the reader with an important but all-too-often neglected side of Robert Frost's poetry that needs to be understood if Frost is to be fully appreciated. If such is the case, the poet's image will not be tarnished as a result; rather it will know a brighter luster than when viewed from but a single angle, in a lesser dimension.

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Dissertação (mestrado)—Universidade de Brasília, Instituto de Letras, Departamento de Línguas Estrangeiras e Tradução, Programa de Pós-Graduação em Estudos da Tradução, 2016. / Submitted by Albânia Cézar de Melo (albania@bce.unb.br) on 2016-05-02T13:09:57Z No. of bitstreams: 1 2016_JorioCorreaCunhaFilho.pdf: 519665 bytes, checksum: 8ddfb75a6276069a95dab8ea6c57717f (MD5) / Approved for entry into archive by Guimaraes Jacqueline(jacqueline.guimaraes@bce.unb.br) on 2016-05-02T15:24:13Z (GMT) No. of bitstreams: 1 2016_JorioCorreaCunhaFilho.pdf: 519665 bytes, checksum: 8ddfb75a6276069a95dab8ea6c57717f (MD5) / Made available in DSpace on 2016-05-02T15:24:13Z (GMT). No. of bitstreams: 1 2016_JorioCorreaCunhaFilho.pdf: 519665 bytes, checksum: 8ddfb75a6276069a95dab8ea6c57717f (MD5) / O presente procura concretizar a tradução para o português brasileiro de um total de 19 poemas de Robert Frost, de acordo com um projeto de integração dos elementos formais mais característicos de sua poesia na tradução. Para tanto, uma análise da escansão dos versos em inglês é empreendida, tomando por base a obra de Pires-de-Mello (PIRES-DE-MELLO, 2001), para que possa ser feita uma comparação entre as formas de escansão de poesia nas línguas inglesa e portuguesa. A proposta baseia-se na ideia de tradução do ritmo do texto literário de Meschonnic (MESCHONNIC, 1999) e na incorporação de elementos estrangeiros ao texto traduzido de Berman (BERMAN, 2012). Uma apresentação do poeta e de sua obra é feita inicialmente, a ver quais são as características que o definem e que deverão, certamente, ser mantidas quando de uma tradução de seus textos. Entre a apresentação e a análise, uma seção é dedicada à discussão sobre a intradutibilidade da poesia, argumentando em seu favor, ainda que admitindo, como apresentado ao final do trabalho, a possibilidade de uma intradutibilidade tópica ou circunstancial, segundo o termo cunhado por Mário Laranjeira (LARANJEIRA, 1993). _______________________________________________________________________________________________________ ABSTRACT / This study seeks to present a translation into Brazilian Portuguese of 19 poems by Robert Frost, pursuant to a project whose aim is to integrate the formal elements most characteristic of his work into the translated texts. To that intent, the poems have been analysed as to their metrical patterns with the book by Pires-de-Mello (PIRES-DE-MELLO, 2001) as a parametre for comparison. The proposal is based on the idea of translation of rhythm in literary texts by Meschonnic (MESCHONNIC, 1999) and on the ncorporation of foreign elements into the translation by Berman (BERMAN, 2012). With that in mind, a presentation of the poet is made and his work, so that the main characteristics of his poetry, the ones that should be retained in translation can be brought to the fore. Between this introduction and the analysis of formal elements, a discussion on the supposed untranslatability of poetry is included, arguing against it, despite admitting the possibility raised by Mario Laranjeira (LARANJEIRA, 1993) of topical or circumstantial unstranslatability in poetry.

This study provides a contribution to an understanding and an interpretation of Frost's poetry. It emphasizes the relationship between his life with his wife and their children and the thematic content in the poetry.At his mother's knee, Frost learned to look for the two-sidedness of every aspect of life. This dualism of nature and of human nature is the key to understanding his poetry. Humans must be ready both to build and to refuse to build walls, both literally and symbolically.The paper singles out and discusses the central themes in Frost's poetry: communication, escape-return, sexism, fear, and love. Other important themes discussed include: farming, fulfilling household responsibilities, and facing tragedy, death, and old age.Structurally, Frost expressed these themes most often through the use of physical barriers, barriers which were nearly always symbolic of emotional conflicts. It is oftena lack of communication which results in a fear of separation or isolation, and fear is contrasted with security: love and togetherness. The woods and darkness are symbolic of a fear of the unknown, as are the repeated appearances of strangers, tramps, and intruders so frequent in the poems.There are descriptions of actual places and events in Frost's life which inspired many of the poems. The paper points out many of the actual landmarks, e.g., the stone wall which divided the fir trees from the apple orchard, the birch trees, the brooks, paths, woods, and even the red sleigh, each of which were to receive such a prominent place in world literature.The study presents an analysis of Frost's poetic style: his use of balance, contrast of light and dark imagery, and the clashing of antithetical elements which resounds throughout his poetry.It also deals with the less-publicized side of Frost's life, the "darker side," which includes his contemplation of suicide, his threats to members of his own family (sometimes with revolver in hand), and the numeroustragedies in his personal life, including the suicide of his son, Carol.The study includes a treatment of such delicate subjects as Frost's habit of sleeping in his mother's room throughout highschool (for fear of the dark) and his relationship with his secretary-companion, Kathleen Morrison, following his wife's death.The poems are divided into those reflecting Frost's childhood, adolescence, and adulthood. The latter category is the most significant and is comprised of poems reflecting Robert's courtship of his wife (poems of rejection and reconciliation), their marriage, and his life following her death.The overall significance of this study is in that it establishes the important influence Frost's marriage had upon his poetry. In spite of conflict and tensions, the marriage of Robert and Elinor Frost was one that "...rested on a true and deep bond, one that made the poetry possible. Elinor...provided judgment, encouragement, and the necessary faith" to enable Robert to be the creative artist that he was. If it were not for his responsibilities to his family, he might never have overcome his fear of speaking before large groups or have become as endeared to the American public.

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This study seeks to demonstrate that nature provided Frost an objective background against which he could measure the validity of human experience and gain a fuller understanding of it. The experiences examined with reference to the poetry include loneliness, anxiety, sorrow, and hope. Attention is given to the influence of Frost's philosophical skepticism upon his poetry. The study reveals that Frost discovered correspondences between nature and human experience which clarified his perspective of existence. The experiences of loneliness, anxiety, and sorrow were found to relate to Frost's feeling of separation from nature and from the source of existence. The experience of hope was found to relate to Frost's vision of the wholeness and unity of life, a vision which derives from humanity's common source with nature.