Abstract
This article explores the idea that Robert Frost’s North of Boston can be interpreted as a poetry of resistance in terms of methodology and subject matter. The methodological thread pertains to Frost’s poetics whilst the subject matter pertains to the historical and socio-political beings which Frost dramatises and records.
Highlights
FORUM claims non-exclusive rights to reproduce this article electronically and to publish this work in any such media current or later developed
It was a conscious decision to resist the pull of the Eliot-Pound pole of modernism, a pole which we can describe for the sake of brevity as being largely Symbolist in mode, and effectively to set himself apart in style and substance from this group
Did make important and lasting friendships in London; he made them outside of this circle, on a different literary scene. He developed more genuine and meaningful friendships with Georgian poets Wilfred Gibson, Lascelles Abercrombie, and Edward Thomas with whom he shared more in common. After her husband’s death, Helen Thomas wrote of Robert Frost that “[h]e believed in David [Edward Thomas] and loved him, understanding, as no other man had ever understood, his strange, complex temperament” and further acknowledged that “in Robert Frost Edward found a man after his own heart, and being deeply interested and sympathetic to Edward's intellectual life, he certainly gave Edward the confidence and belief in himself for this great enterprise”
Summary
Robert Frost’s North of Boston: A Poetry of Resistance Dominic Richard FORUM: University of Edinburgh Postgraduate Journal of Culture & the Arts 30 Spring 2020 22/07/2020 Debangana Mishra. FORUM claims non-exclusive rights to reproduce this article electronically (in full or in part) and to publish this work in any such media current or later developed. Any latter publication shall recognise FORUM as the original publisher
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