Sunday, 17 March 2019

The Heart of Darkness.

The Heart of Darkness


Critical Review of Joseph Conrad's Heart of Darkness The understanding of evil and its genesis could not be achieved 
without submerging into the reality of iniquity. In Joseph Conrad's 
"Heart of Darkness", Marlow went through an unsurpassable 
physiological burden of the Congo River to understand the mystic and 
the brilliance of Kurtz's dark and destructive mind and soul; the 
resemblance of true evil. 

This novel portrays the tragic outcome of the severe European dominion 
over the helpless African population and the destruction of 
fundamental human conventions and beliefs. The ignorance and 
misunderstanding with which the colonists were driven to imaginary 
wealth and authority nourished the hidden potential of evil that lies 
within each person and brought a great wave of disaster to the Congo 
River. 

The novel places us into the epicenter of mysterious Congo Jungle, 
full of darkness, savagery, greed and death. Marlow is another ruined 
soul trying to conquer the desolation and disturbance of the Congo 
River. The gloominess of the setting is encouraged by dirty with silt 
river water, and hot tropically climate; which at times is almost 
excruciating. The journey up the river might symbolize a road to hell, 
encountering no salutary and positive things, yet encouraging 
suffering and physiological breakdown. 


'The Hairy Ape'

The Hairy Ape



The firemen, workers who shovel coal into the engine of a Transatlantic Ocean Liner, sit in the forecastle of the ship drinking and carrying on with each other. They are an hour out of New York City and have seven more days aboard ship. The men are burly and muscular. Yank, the fiercest looking of the men, sits in the foreground quietly. Whenever Yank speaks the men immediately hush. Yank asks for a beer and the men immediately give one to him. As Yank and the men drink, Yank remains in control as the leader of the group. Yank and the men joke about thinking as they drink. Yank, in a joke repeated during the play, tells the men to be quiet because he is trying to "tink." The men mockingly repeat after him, "think" and then erupt into a chorus of "Drink, don't think!" Cutting through the general mayhem, a drunken tenor sings a tune about his lass at home. Talk of home outside the ocean liner infuriates Yank and he tells the tenor to be quiet. Long, quite drunk, stands up and makes a Marxist speech, preaching to the men that if the ship is home, their home is hell and the Upper Class put them there. Yank tells him to join the Salvation Army and get a soapbox. Paddy, a wise, older fireman tells the men that life on an Ocean Liner is hell by comparison to his life on a Clipper Ship. Paddy reminisces about the freedom he enjoyed, the purpose he had and skill for which he was valued. Yank tells Paddy that he is dead, "living in the past of dreams" and glorifies his own job as the strength of the ship's speed and force.
Mildred and her Aunt lounge on the promenade deck of the Ocean Liner. Mildred and her Aunt discuss Mildred's need to do service for the poor. Mildred worked with the poor in Manhattan's Lower East Side and is currently on her way to do more service projects in Europe. Mildred's Aunt characterizes Mildred's service as "slumming" and does not understand why she has to do it internationally. Mildred's Aunt tells Mildred that her service work just makes the poor feel poorer. Mildred is currently waiting for the second engineer to take her down into the stokehole. Mildred told a lie that her father, the president of Nazareth Steel, has given her permission. When he arrives, the second Engineer escorts Mildred, clad in a white dress she refused to change out of, down into the stokehole.
Yank and the men are hard at work shoveling coal in the noisy stokehole at the opening of Scene Three. Yank leads the men at work. The men take a break and an anonymous whistle-blower overhead in the darkness commands the men to keep working. In a rage, Yank screams up at the whistle-blower. Yank suddenly realizes that the men have stopped working. Still fuming, Yank turns to face Mildred. At the sight of Yank, Mildred whimpers for the men to take her away from the filthy beast and faints into the arms of the engineers
The men have again gathered in the stokehold in Scene Four. They replay and rehash the Mildred scene and mock Yank, the "filthy beast." Paddy tells Yank Mildred looked at him like he was a big "hairy ape." Infuriated, Yank lunges toward the door to find Mildred, but is restrained by the other Firemen.
Yank and Long have traveled to 5th Avenue in New York City in Scene Five. Long means to show Yank that all upper class people are like Mildred. Yank tries to attract attention to himself by bumping into people and accosting a young woman, but receives no response but "I beg your pardon." Finally, Yank is arrested because he makes a Gentleman miss his bus. Yank is imprisoned on Blackwell's Island and converses with the other prisoners in Scene Six. The men tell him that if he wants to get even with Mildred and her father's company he should join the Wobblies or the Industrial Workers of the World. Yank realizes that Mildred's father built both the physical and metaphorical cage he is trapped in. In a fury, Yank actually bends the bars of his cell, but is restrained by the guards.
Yank visits the local I.W.W. in Scene Seven, but is rejected because the Secretary thinks he is a governmental spy. Yank's radicalism, willingness to blow things up and preoccupation with "belonging" make them suspicious of him. Yank is thrown out on the street. Yank spends the night at the Battery and the next morning visits the Monkey House at the Zoo. In Scene Eight, Yank attempts to befriend the ape. He tells the ape that they are alike—both caged and taunted. Yank believes he and the ape belong to the same club and calls him brother. Yank releases the gorilla from his cage and approaches the ape to shake his hand. The gorilla springs on Yank, crushes Yank with his massive arms and then tosses Yank into his cage. Yank dies in the gorilla's cage.

Blog on the play 'Tughlaq' by Girish Karnad.

Tughlaq

In the mid-’60s, Girish Karnad was a 22 year-old playwright in search of a subject. He had just completed writing about the whim of a king (Yayati) when he came upon the statement of a fellow Kannada litterateur’s dissing existing Kannada plays as costume drama. Karnad decided to rise to the challenge. His ‘Tughlaq’ is a theatrical representation strong in rhetoric of the 14th-century king who destabilised his own kingdom; marched his people from the north (Delhi) to the west (Daulatabad) to set up a new capital and marched them back; went on a killing spree; struck coins in one metal and then another – all in the name of good governance. Watching a powerful man crack up, whenever it occurs, is a bad time in history. It’s great for art though.
Tughlaq was first staged in Urdu in 1966 as part of a National School of Drama student production directed by actor Om Shivpuri, then a student. Its more famous outing was Ebrahim Alkazi’s grand set-piece at the Purana Qila, Delhi, in 1972; veteran actor Manohar Singh played the lead. A revival of the play in Delhi this weekend comes at an interesting point when books are questioning older books about dead rulers with bad press -- such as Aurangzeb – and the appropriate way to look at figures of history.
‘Tughlaq is not just about Nehru’, says Girish Karnad. ( Hemant Mishra / Mint )
Home truths
So, was Muhummad bin Tughlaq mad or brilliant? Should one laugh at him or listen to him? Was he a visionary or an insecure politician? Were his projects an expression of madness or driven by political calculation? The answers to these questions, says Karnad, may perhaps be set aside for the most important question -- is the play still contemporary or not.
“Written in the ’60s, everyone latched on to UR Ananthamurthy’s comment of it being a critique of Nehruvian socialism,” says the actor-playwright. “The point about a play is that it cannot simply be about its own time. Tughlaq is not just about Nehru. There are lines in the play when two guards talk to each other and one of them says ‘Oh, this is such a strong fort!’ The other guard doesn’t agree. He says ‘This fort will crumble due its inner weaknesses.’ An 80s’ audience watching it, interpreted it as the aftermath to Indira Gandhi’s assassination… Every audience interprets a play according to his own sense of reality. The question is whether it will connect it to Modi….”
When curtains go up
K Madavane, the director of Tughlaq that will be staged this weekend, seems to have taken forward Karnad’s aesthetics in the way he has developed the play visually. “K Madavane is a meticulous planner. The throne is not a static piece of furniture, its movement to indicate a shift of capital,” says Veena Soorma of Shri Ram Centre of Performing Arts.
The stage is bare except for a huge wooden throne atop a pyramid whose base is made up of stairs. Tughlaq climbs these stairs to issue his orders; his minions positioned at various levels on the staircase fight it out for his attention. The courtier (Najeeb), who is all hot air, grand postures and bad advice, is the one who has the king’s ears. Those who are temperate don’t stand a chance. Tughlaq’s subjects also make hay feeding into his fickle impulses to be seen as inclusive.
A scene from the play between a dhobi and a thief. ( Raj K Raj/HT Photo )
One of his Muslim subjects, for example, takes on the identity of a Brahmin to benefit from the king’s generosity to his Hindu subjects. The Daulatabad move, says Sandeep Singh, the Shri Ram Centre repertory chief, was, in fact guided by the motive that Daulatabad [in Maharashtra] was a centre for his Hindu subjects. “And the coming of his Muslim majority population from Delhi would make it a place of religious harmony…But it was also to secure his capital from Mongol invasion,” he adds. “Tughlaq got the people packing and everyone hated the idea.”
There were three things that were fighting for Tughlaq’s soul, says Singh. He quotes from the play to make his point: “Khuda ki azmaat (Allah’s greatness), riyaya ki bhalayi ka khwaab(the dream for the good of the people), aur zaati khwaishey (my personal desires) – jab teeno main kashmakash ho rahi ho toh mujhey soney ka waqt kanhan hai…”
Veteran actor Ayaz Khan who is playing Tughlaq for the sixth time in his career, says the character is open to various readings. Tughlaq’s mistakes, he says, “unlike today’s leaders, was not for power. He thought he was building a new world. He was rash and driven by idealism. Even if he did badly, he was a brilliant failure. To me, he is a positive character.”


About the Play 'Othello'

Othello


                            Othello (The Tragedy of Othello, the Moor of Venice) is a tragedy by William Shakespeare, believed to have been written in 1603. It is based on the story Un Capitano Moro ("A Moorish Captain") by Cinthio, a disciple of Boccaccio, first published in 1565.The story revolves around its two central characters: Othello, a Moorish general in the Venetian army and his unfaithful ensignIago. Given its varied and enduring themes of racism, love, jealousy, betrayal, revenge and repentance, Othello is still often performed in professional and community theatre alike, and has been the source for numerous operatic, film, and literary adaptations.

Othello, in full Othello, the Moor of Venice, tragedy in five acts by William Shakespeare, written in 1603–04 and published in 1622 in a quarto edition from a transcript of an authorial manuscript. The text published in the First Folio of 1623 seems to have been based on a version revised by Shakespeare himself that sticks close to the original almost line by line but introduces numerous substitutions of words and phrases, as though Shakespeare copied it over himself and rewrote as he copied. The playderives its plot from Giambattista Giraldi’s De gli Hecatommithi (1565), which Shakespeare appears to have known in the Italian original; it was available to him in French but had not been translated into English.


Saturday, 16 March 2019

Assignment Paper no 12: English Language Teaching 2


     Paper-12

Name: Ramiz M. Solanki
M. A. Sem:- 2
Roll No. 27
Batch: 2017-19
Enrolment No.2069108420180051
Paper No. 12 (ELT)
Assignment Topic: Krashen’s Five Hypotheses about SLA
Email Id: ramiz.solanki39@gmail.com
Submitted to: Department of English MKBU.



SECOND LANGUAGE ACQUISITION
Second-language acquisition (SLA), second-language learning, or L2 (language 2) acquisition, is the process by which people learn a second language. Second-language acquisition is also the scientific discipline devoted to studying that process. The field of second-language acquisition is a subdiscipline of applied linguistics, but also receives research attention from a variety of other disciplines, such as psychology and education.
A central theme in SLA research is that of interlanguage, the idea that the language that learners use is not simply the result of differences between the languages that they already know and the language that they are learning, but that it is a complete language system in its own right, with its own systematic rules. This interlanguage gradually develops as learners are exposed to the targeted language. The order in which learners acquire features of their new language stays remarkably constant, even for learners with different native languages, and regardless of whether they have had language instruction. However, languages that learners already know can have a significant influence on the process of learning a new one. This influence is known as language transfer.
The primary factor driving SLA appears to be the language input that learners receive. Learners become more advanced the longer they are immersed in the language they are learning, and the more time they spend doing free voluntary reading. The input hypothesisdeveloped by linguist Stephen Krashen makes a distinction between language acquisition and language learning (acquisition–learning distinction),[1] claiming that acquisition is a subconscious process, whereas learning is a conscious one. According to this hypothesis, the acquisition process in L2 (Language 2) is the same as L1 (Language 1) acquisition. The learning process is consciously learning and inputting the language being learned.[2] However, this goes as far as to state that input is all that is required for acquisition. Subsequent work, such as the interaction hypothesis and the comprehensible output hypothesis, has suggested that opportunities for output and for interaction may also be necessary for learners to reach more advanced levels.

Stephan Krashen’s Theory of Second Language Acquisition.

  • the Acquisition-Learning hypothesis;
  • the Monitor hypothesis;
  • the Natural Order hypothesis;
  • the Input hypothesis;
  • and the Affective Filter hypothesis.

Stephen Krashen (University of Southern California) is an expert in the field of linguistics, specializing in theories of language acquisition and development. Much of his recent research has involved the study of non-English and bilingual language acquisition. During the past 20 years, he has published well over 100 books and articles and has been invited to deliver over 300 lectures at universities throughout the United States and Canada.
This is a brief description of Krashen's widely known and well accepted theory of second language acquisition, which has had a large impact in all areas of second language research and teaching since the 1980s.
Krashen's theory of second language acquisition consists of five main hypotheses:
The Acquisition-Learning distinction is the most fundamental of all the hypotheses in Krashen's theory and the most widely known among linguists and language practitioners. According to Krashen there are two independent systems of second language performance: 'the acquired system' and 'the learned system'. The 'acquired system' or 'acquisition' is the product of a subconscious process very similar to the process children undergo when they acquire their first language. It requires meaningful interaction in the target language - natural communication - in which speakers are concentrated not in the form of their utterances, but in the communicative act.
The "learned system" or "learning" is the product of formal instruction and it comprises a conscious process which results in conscious knowledge 'about' the language, for example knowledge of grammar rules. According to Krashen 'learning' is less important than 'acquisition'. (See here our in-depth analysis of the Acquisition/Learning hypothesis and its implications).
The Monitor hypothesis explains the relationship between acquisition and learning and defines the influence of the latter on the former. The monitoring function is the practical result of the learned grammar. According to Krashen, the acquisition system is the utterance initiator, while the learning system performs the role of the 'monitor' or the 'editor'. The 'monitor' acts in a planning, editing and correcting function when three specific conditions are met: that is, the second language learner has sufficient time at his/her disposal, he/she focuses on form or thinks about correctness, and he/she knows the rule.
It appears that the role of conscious learning is somewhat limited in second language performance. According to Krashen, the role of the monitor is - or should be - minor, being used only to correct deviations from "normal" speech and to give speech a more 'polished' appearance.
Krashen also suggests that there is individual variation among language learners with regard to 'monitor' use. He distinguishes those learners that use the 'monitor' all the time (over-users); those learners who have not learned or who prefer not to use their conscious knowledge (under-users); and those learners that use the 'monitor' appropriately (optimal users). An evaluation of the person's psychological profile can help to determine to what group they belong. Usually extroverts are under-users, while introverts and perfectionists are over-users. Lack of self-confidence is frequently related to the over-use of the "monitor".
The Natural Order hypothesis is based on research findings (Dulay & Burt, 1974; Fathman, 1975; Makino, 1980 cited in Krashen, 1987) which suggested that the acquisition of grammatical structures follows a 'natural order' which is predictable. For a given language, some grammatical structures tend to be acquired early while others late. This order seemed to be independent of the learners' age, L1 background, conditions of exposure, and although the agreement between individual acquirers was not always 100% in the studies, there were statistically significant similarities that reinforced the existence of a Natural Order of language acquisition. Krashen however points out that the implication of the natural order hypothesis is not that a language program syllabus should be based on the order found in the studies. In fact, he rejects grammatical sequencing when the goal is language acquisition.
The Input hypothesis is Krashen's attempt to explain how the learner acquires a second language – how second language acquisition takes place. The Input hypothesis is only concerned with 'acquisition', not 'learning'. According to this hypothesis, the learner improves and progresses along the 'natural order' when he/she receives second language 'input' that is one step beyond his/her current stage of linguistic competence. For example, if a learner is at a stage 'i', then acquisition takes place when he/she is exposed to 'Comprehensible Input' that belongs to level 'i + 1'. Since not all of the learners can be at the same level of linguistic competence at the same time, Krashen suggests that natural communicative input is the key to designing a syllabus, ensuring in this way that each learner will receive some 'i + 1' input that is appropriate for his/her current stage of linguistic competence.
Finally, the fifth hypothesis, the Affective Filter hypothesis, embodies Krashen's view that a number of 'affective variables' play a facilitative, but non-causal, role in second language acquisition. These variables include: motivation, self-confidence and anxiety. Krashen claims that learners with high motivation, self-confidence, a good self-image, and a low level of anxiety are better equipped for success in second language acquisition. Low motivation, low self-esteem, and debilitating anxiety can combine to 'raise' the affective filter and form a 'mental block' that prevents comprehensible input from being used for acquisition. In other words, when the filter is 'up' it impedes language acquisition. On the other hand, positive affect is necessary, but not sufficient on its own, for acquisition to take place.

The Role of Grammar in Krashen's View

According to Krashen, the study of the structure of the language can have general educational advantages and values that high schools and colleges may want to include in their language programs. It should be clear, however, that examining irregularity, formulating rules and teaching complex facts about the target language is not language teaching, but rather is "language appreciation" or linguistics.
The only instance in which the teaching of grammar can result in language acquisition (and proficiency) is when the students are interested in the subject and the target language is used as a medium of instruction. Very often, when this occurs, both teachers and students are convinced that the study of formal grammar is essential for second language acquisition, and the teacher is skillful enough to present explanations in the target language so that the students understand. In other words, the teacher talk meets the requirements for comprehensible input and perhaps with the students" participation the classroom becomes an environment suitable for acquisition. Also, the filter is low in regard to the language of explanation, as the students" conscious efforts are usually on the subject matter, on what is being talked about, and not the medium.
This is a subtle point. In effect, both teachers and students are deceiving themselves. They believe that it is the subject matter itself, the study of grammar, that is responsible for the students" progress, but in reality their progress is coming from the medium and not the message. Any subject matter that held their interest would do just as well.






(Wikipedia)

Bibliography

Wikipedia, Contributers. Second Language Acquisition. 06 October 2018. 04 November 2018 <https://en.wikipedia.org/w/index.php?title=Special:CiteThisPage&page=Second-language_acquisition&id=862828567>.



https://www.sk.com.br/sk-krash-english.html

Assignment Paper no 11: Post Colonial Literature.


Paper-11

Name: Ramiz M. Solanki
M. A. Sem:- 3
Roll No. 27
Batch: 2017-19
Enrolment No.2069108420180051
Paper No. 11 (Post Colonial Literature)
Assignment Topic: Fanon’s Views on ‘Colour of White Women and Black Men’ ‘and Colour of Black Men and White Women’
Email Id: ramiz.solanki39@gmail.com
Submitted to: Department of English MKBU



Introduction:-
Black Skin, White Masks is a 1952 book by Frantz Fanon, a psychiatrist and intellectual from Martinique. The book is written in the style of auto-theory, in which Fanon shares his own experiences in addition to presenting a historical critique of the effects of racism and dehumanization, inherent in situations of colonial domination, on the human psyche.
It is a psychological study of colonialism. According to Fanon, the encounter between white European colonizers and black slaves and their descendants creates a unique social and psychological situation with a characteristic set of psychopathologies. Black Skin, White Masks analyzes these psychopathologies, traces their roots in the colonial encounter, and suggests how healing might become possible.
Black Skin, White Masks applies historical interpretation, and the concomitant underlying social indictment, to understand the complex ways in which identity, particularly Blackness is constructed and produced. In the book, he applies psychoanalysis and psychoanalytic theory to explain the feelings of dependency and inadequacy that black people might experience. That the divided self-perception of the Black Subject who has lost his native cultural origin, and embraced the culture of the Mother Country, produces an inferiority complex in the mind of the Black Subject, who then will try to appropriate and imitate the culture of the colonizer. Such behaviour is more readily evident in upwardly mobile and educated Black people who can afford to acquire status symbols within the world of the colonial ecumene, such as an education abroad and mastery of the language of the colonizer, the white masks.
About author (Frantz Fanon)
Frantz Fanon (20 July 1925 – 6 December 1961) was a psychiatristphilosopherrevolutionary, and writer from the French colony of Martinique, whose works are influential in the fields of post-colonial studiescritical theory, and Marxism. As an intellectual, Fanon was a political radicalPan-Africanist, and Marxist humanist concerned with the psychopathology of colonization, and the human, social, and cultural consequences of decolonization.

The woman of colour and the white man
(chepter 2)
 The second chapter is about the psychology behind the marriage between white men and black women’ “The woman of colour and the white man”. In this chapter Fanon talks about internalize racism. In this Fanon defines authentic love as “wishing for others what one postulation unites the permanent values of human reality”. Only a healthy psychology is capable of this kind of love a psyche riddled with unresolved unconscious conflicts is not. In this fanon examines how the psychological conflicts resulting from black women’s internalized anti-black result in inauthentic intimate reletionships.
According to Fanon, the acts of love and admiration are directly tied to who and what we value. And he gave reasons that why women of colour go after white men, putting down men of their own colour!
Fanon says,
“Authentic love …entails the mobilization of psychic drives basically freed of unconscious conflicts.”
In other words, he cannot seek to love unless he has rid himself, in this case, of his inferiority complex. Fanon explains that, these black women do not truly love white men but they just love their colour. They marry with them to deal with their own hang-ups about race. And it is because the black woman feels inferior.
Secretly she wants to be white and marring white is black girl’s way of doing this. Their racism is so profound that it blinds them to good black man. With marring white person, black woman wants to enter in white world. Mulatto or half girls don’t ever want to marry blacks again. Fanon explains this psychology of black women and their desire to marry whites with real examples in this chapter.

The man of colour and the White woman
(chapter 3)

 The third chapter “The man of colour and the White woman” is about black man’s psychology after being colonized by whites.
Fanon argues that, the nature of the relationship is also rooted in the latent desire to become white. He writes,
“By loving me she [white woman] proves to me that I am worthy of a love. I am loved like a white man. I am a white man.”
Every black man and mulatto have only one thought to be like white to gratify their appetite for white woman, to marry white woman. They started denying their culture and woman and marry white girl, less for love than satisfying their ego and inferiority.
Fanon explains this desire with example of Jean Venuese, hero of a novel “Un home pareil aux autres” by Rene Maran. He is black, but like other Europeans, he falls in love with white woman. He wants to separate himself from his race and wants to marry white… Fanon, very effectively, presents hidden desire of black man to marry white woman.

Conclusion

Above both Chapters of Black Skin, White Masks are about romantic relationships between Black and white people in white societies. Many of the examples are about love between people from Antilles and people from France within France.
 In Chapter 2, Fanon examines romantic relationships between black women and white men, taking Mayotte Capécia’s Je suis Martiniquaise and Aboudalye Sadji’s Nini as case studies. He argues that these works provide evidence that some romantic relationships between black women and white men are rooted not in “authentic” love, but in black women’s sense of inferiority and need for white approval.
In Chapter 3, “The man of colour and the White woman” Fanon explores this dynamic at more length when the roles are reversed: when the male lover is Black and the female lover is white.

(Wikipedia, the free encyclopedia) (jadeja) (black skin white mask summery chapter 2) (Black Skin, White Masks)

Works Cited

black skin white mask summery chapter 2. 3 11 2018. <https://freebooksummary.com/black-skin-white-masks-chapter-2-summary-118016>.
Black Skin, White Masks. 3 11 20118. <https://www.gradesaver.com/black-skin-white-masks/study-guide/summary-chapters-2--3>.
jadeja, poojaba. Poojaba Jadeja's asignments. 3 11 2018. 13 october 2014 <http://poojabajadeja1315.blogspot.com/2014/10/black-skin-white-masks-general-overview.html>.
Wikipedia, the free encyclopedia. 3 11 2018. 9 september 2018 <https://en.wikipedia.org/wiki/Black_Skin,_White_Masks>.




Assignment Paper no 10: The American Literature.


     Paper-10

Name: Ramiz M. Solanki
M. A. Sem:- 2
Roll No. 27
Batch: 2017-19
Enrolment No.2069108420180051
Paper No. 10
Assignment Topic: Symolism in Robert Frost’s Poems
Email Id: ramiz.solanki39@gmail.com
Submitted to: Department of English MKBU.







Introduction
Robert Lee Frost (March 26, 1874 – January 29, 1963) was an American poet. His work was initially published in England before it was published in America. Known for his realistic depictions of rural life and his command of American colloquial speech,[2] Frost frequently wrote about settings from rural life in New England in the early twentieth century, using them to examine complex social and philosophical themes.
Frost was honored frequently during his lifetime, receiving four Pulitzer Prizes for Poetry. He became one of America's rare "public literary figures, almost an artistic institution."[3] He was awarded the Congressional Gold Medal in 1960 for his poetic works. On July 22, 1961, Frost was named poet laureate of Vermont.

Symbolism in the Poems of Robert Frost

Nature has inspired countless poets from primitive times to the present. They have used it as a metaphor for virtually all human emotions-his stormy brow, her sky blue eyes, as wild as a summer storm. Very few, however, have so masterfully crafted their verse to fully express the range of nature’s power and influence, or suited the tone of a poem to encompass both human nature and ‘true’ nature. This is true in the poetic works of Robert Frost. The aspects of nature that are continually demonstrated in the poems of Frost symbolize both the physical world and its changes, and the nature of humans.

It can easily be argued that Frost believed that little difference existed between
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He would speak plainly of an emotion or a thought, and not use symbolism to represent the prolific possibilities that could lie within a simple subject such as the bee. All of Frost’s poems can be said to contain symbolism and more often that not it seems to be Frost’s goal to instill in the reader their own idea of what the symbolism may be. While there are multitudes of ways to use symbolism, there is also a multitude of possibilities within each and every poem, if not every line of his poems. 

Robert Frost takes the familiar objects as the subject matters of his poetry but makes them highly suggestive and symbolic to represent some universal wisdom. Frost’s poetry abounds in  all familiar things like pastures and plains, mountains and rivers, woods and gardens, groves and bowers, fruits and flowers, and seeds and birds etc. But Frost treats all these elements of nature differently from the English romantics. Though Frost is forever linked to the stone-pocked hills and woods of New England, he treated some themes that have universal appeal.

Robert Frost worked individual poems into a larger unity by presenting in them a recurrent speaker ,a wise country person living close to nature and approaching life in a spirit of compassionate realism.Many people assumed that this speaker was Frost himself ,but in fact it was a brilliant artistic creation ,a persona or mask . In addision he wrote many dramatic monologues whose speakers were New England farm people. The poems in which he makes use of the familiar aspects to suggest a symbolic meaning are Mending Wall, The Road Not Taken, Stopping by Woods by Snowy Evening, Birches etc.

In the poem 'The Pasture', we are introduced with a farmer who is engaged in day to day farming life. The Pasture describes simple, every day pleasures on the farm. Here the speaker says he is setting out on an ordinary farm chore to clean the pasture spring of leaves, and perhaps wait for the water to clear. But in deeper sense the poem shows the process of purifying human hearts from sin.

Pasture symbolizes the world. To clean the pasture spring means to purify the heart and soul from sin. Leaves symbolize the sins that lie inside the heart. ’Wait to watch the water clear” means wait until the clear from sins.’To fetch the little calf” means to guide the people who still have weak faith. ’It totters when she licks it with her tongue” means God will send his messenger to guide the ordinary people. So, God will not directly give enlightenment to them.

In the poem ‘Mending Wall’, for example, Frost portrays a typical farming work in the context of New England. The New England farmers built walls as boundaries to their farms. These walls often became weak and broke down. So, they needed mending. The poem Mending Wall is also a poem about two neighbors and a wall. The wall acts as a divider in separating estates-apple and pine trees. It is a very common picture of farming life where the people believe that "Good fences make good neighbors." But the suggestiveness of the poem is very modern in its approach. The poem is based on the modern theme of isolation. Modern men built boundaries and made themselves isolated from each other. Frost’s metaphysical treatment of this physical and psychological isolation is also an evidence of his modernity. In “Mending Walls”, Frost juxtaposes the two opposite aspects of the theme of the poem and then leaves it to the reader to draw his own conclusion. The conservative farmer says:

Good fences make good neighbor
and the modern radical farmer says:
Something there is that doesn’t love a wall,  

But the question remains unsolved. And it is up to the readers if they will keep the wall or pull down it.
'Stopping By woods on a Snowy Evening' is another poem, in which the familiar things finally become highly suggestive. Apparently, the poem describes the evening walk of a rural farmer, may be the poet himself. But out of his evening walk beside a snowy woods, the traveler discovers a truth universal in appeal.

In the poem “Mowing” the poet as a laborer identifies himself with his scythe. The narrator works in the field on a hot day.  He notices that his scythe seems to be whispering as it works. Instead of dreaming about inactivity or reward for its labor as a person would, the scythe takes its sole pleasure from its hard work. It receives satisfaction from “the fact” of its earnest labor in the field, not from transient dreams or irrational hopes. The narrator follows the scythe’s example: seizing on the pleasure of hard work and making hay.

In the poem 'Two Tramps in Mud Time' Frost has taken notice of both the bright and dark aspects of nature. Beneath the apparently beautiful calm there is lurking turmoil and storms:

Be glad of water, but don’t forget
The lurking frost in the earth beneath

There is a famous poem “Stopping by Woods on a Snowy Evening”. On the surface, it is a poem about a traveler who feels tempted to go into the woods which are “lovely, dark and deep” and to stay there in order to enjoy their strange beauty and charm, but who is not able to carry out his wish on account of the realization that he has promises to keep and miles to go. But the poem has a deeper, symbolic significance. The words “promises”, “miles”, and “sleep” have deeper meanings. “Promises” and “miles to go” imply duties and responsibilities. “Sleep” symbolizes death. There are the promises which he has made to himself and to others, or which others have made on his behalf. And there are the miles he must travel through other kinds of experience before he yields to that final and inevitable commitment-death. We are not told that the call of social responsibility proves stronger than the attraction of the woods, which are "lovely" as well as "dark and deep’. The dichotomy of the poet's obligations both to the woods and to a world of promises is what gives this poem a universal appeal.

The woods are lovely, dark and deep,
But I have promises to keep,
And miles to go before I sleep,
And miles to go before I sleep.

The closing stanza of the poem is especially symbolic. The poem symbolically expresses the conflict which everyone feels between the demands of the practical life and a desire to escape into the land of reverie.

The poem “The Road Not Taken” was also based on the poet’s personal experience. It was based on his visit to the woods of Plymouth, New Hampshire in 1911-1912. But the poem symbolizes the universal problem of making a choice of invisible barriers built up in the minds of the people which alienate them from one another mentally and emotionally, though they live together or as neighbors in the society. At the heart of the poem is the romantic mythology of flight from a fixed world of limited possibility into a wilderness of many possibilities combined with trials and choices through which the pilgrim progresses to divine perfection.

 'Apple Picking' describes the feelings, of a man who has been plucking apples from the apple trees. He's describing how he takes them off the tree and places them in a bucket and sends them off. His is a tired apple picker. He cherishes the apples like they were jewels. After a long day’s work, the speaker is tired of apple picking and feels sleep coming on.

Similarly the Birch trees in “Birches” symbolize man’s desire to seek escape from the harsh suffering man to undergo in this world.

The poem Design is saying that god is both good and evil and has a design for all things big and small. The whiteness of the flower, spider, and moth represent purity. However the scene itself could be construed as evil. But since everything is under god's design he must have designed it to happen that way. Perhaps he is saying that everything can be looked upon as good or evil depending on your perspective.

In the poem ’Fire and Ice”, fire symbolizes the heat of passion while ice represents the cold hate. The extremes of both passion and hate have the power to destroy and annihilate the world.

Robert Frost’s insightful yet tragic poem “Out, Out--” employs realistic imagery and the personification of a buzz saw to depict how people must continue onward with their lives after the death of a loved one, while also hinting at the selfish nature of the human race, whom oftentimes show concern only for themselves.

Frost begins the poem by describing a young boy cutting some wood using a buzz-saw. The setting is Vermont and the time is late afternoon. The sun is setting and the boy's sister calls him to come and eat supper. As the boy hears its dinner time he gets excited and cuts his hand by mistake. Realizing that the doctor might cut his hand off because of this, he immediately asks his sister to make sure that does not happen. By the time the doctor arrives it is too late and the hand is already lost. When the doctor gives him anaesthetic, the boy falls asleep never to wake up again. The last sentence of the poem which states that "since they [the boys family and the doctor] were not the one dead, turned to their affairs" shows how although the boys death is tragic, people move on with their life



(Wikipedia)

Bibliography

Wikipedia, Contributers. Rober Frost. 04 November 2018. 04 November 2018 <https://en.wikipedia.org/wiki/Robert_Frost>.


(Literary)

Bibliography

Articles, Literary. Use of Symbols in Poetry of Robert Frost. 04 November 2018 <http://www.literary-articles.com/2013/12/use-of-symbolssymbolism-in-poetry-of.html>.
Wikipedia, Contributers. Rober Frost. 04 November 2018. 04 November 2018 <https://en.wikipedia.org/wiki/Robert_Frost>.