Thesis On Robert Frost

This makes sense as Frost did consider himself to be a shepherd.

Frost uses nature as an image that he wants us to see or a metaphor that he wants us to relate to on a psychological level. His poetry is in the main psychologically oriented with emphasis on specific recurring themes, which include, but are not limited to, loneliness, retreat, spirituality, darkness, and death.

Though often antagonistic to organized religion, Frost must nevertheless be recognized as a spiritual poet who combines doubt with faith, despair with hope and darkness with light.

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Interdisciplinary in nature, this thesis uses evidence from psychological experiments to emphasise the cognitive fundamentals which underpin those Hardy and Frost poems remembered as aesthetic or cultural artefacts.

Four core chapters explore issues of expectation, recognition, voice and identity, showing the meeting points for Hardyean and Frostian memory and offering new readings which connect these canonical figures.

This thesis brings together the poetry of Thomas Hardy and Robert Frost, revealing their respective work as peculiarly engaged with memory.

The potentially unnuanced categorization of Frost as a Gothic scribe of doom and gloom misrepresents a complex and often ambivalent aesthetic rooted in a fundamental dualism.

Informed by the insights of scholarly authorities including Lionel Trilling and Randall Jarrell, critics since the mid-twentieth century have been wont to find in the corpus of Robert Frost a profound pessimism, Gothicism, and scepticism.

This seems to go against the grain of Frost s reputation as one of the most popular and revered of American poets.

Frost said himself repeatedly, “I am not a nature poet.

There is almost always a person in my poems” (quoted in Thompson).

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