Since China’s reform and opening up, Chinese comments on Frost’s poetry have come more than 30 years of history。 Many famous translators completed Frost poems’ translation work and many famous American literature scholars pointed out the direction of the research and laid a solid foundation。 Cheng Aimin, Huang Zongying, He Qingji, and many other domestic young American literature researchers still have great interests in Frost's poems。 

This thesis made copious references to previous scholars’ research and analyzed the form and theme of Robert Frost’s poems, mainly referenced Huang Zongying’s book: The Research on Robert Frost, and then refined and analyzed the style and theme of Frost’s poems, at the same time, referenced the book translated by Dong Hongchuan and Wangqing: Robert Frost’s speeches in campus。 Through Frost's speeches, we can more understand the traditional form and modern theme of his poems and his personal emotions。 From the beginning of the last century till now, there have been a large number of literature research of Frost’s poems at home and abroad。 This paper also referenced Huang Zongying and the other domestic and abroad scholars’ research papers and poetry comments。 So we have more understandings about the artistic rhetorical devices and techniques of Frost’s poems like: metaphor, symbolism, irony, metre and rhythm, as well as the expressions of modern emotions in his poetry。 Combining with Frost’s view of poetry creation, They keep excavating and researching from poetry ontology, theme culture and other different perspectives to study Frost’s poetry creation art。文献综述

3。 The “Sense and Sensibility” in Robert Frost's Poems

    As a modernist poet, Frost inherited the traditions of poetry in form and expressed new content in the old form。 Frost walked out of a road quite differed from many poets in the 20th century。 He didn't do his works unconventional or unorthodox or try to reform the form of poetry, but inherited the traditions。 He liked using simple spoken language, gentle and calm tone, and the rhythm that people were familiar with。 The most obvious characteristic of his poems is using daily seemingly mundane things to express profound philosophy。

3。1 Traditional Form and Modern Theme 

    Frost was known as a laureate poet in American literature and people also call him an “alternate poet”, it is because he was on the link of traditional and modern poetry period。 As a modern poet, Frost inherited traditional poetry style and expressed new content。 He inherited Neo-classicism in his poems and added romantic emotional elements in the theme of his poems。 He mostly paid attention to the natural scenery and the life of New England people。 Frost was clever at finding things from nature that can be a metaphor or a symbol of humans’ life。 He persisted in using rhythm to lay a foundation for his poetic creation, so when reading his poems, we can feel them full of melody and implication。来*自-优=尔,论:文+网www.youerw.com

3。1。1 Traditional Form

    Robert Frost’s poems had distinct traditional forms, which made his poems full of sense of rhythm and let readers enjoy the rhythm and feel pleasant。 Frost seldom wrote free verse, he once said, “If you don't speak rhythm poetry, it just like playing tennis without blocking。” (Frost 56)。 It seemed that he had a preference for iambic, “For English poetry, iambic and slightly changed iambic are the only rhythm of nature。”(Frost 86)。 Frost famously likened the composition of free-verse poetry to playing tennis without a net: it might be fun, but it “ain’t tennis。” You will find only tennis in the poems that follow。 And yet, even while Frost worked within form, he also worked the form itself, shaping it by his choice of language and his use of variation。 He invented forms, too, when the poem required it。 A theme in Frost’s work is the need for some, but not total, freedom—for boundaries, too, can be liberating for the poet, and Frost perhaps knew this better than anyone: No American poet has wrought such memorable, personally identifiable, idiosyncratic poetry from such self-imposed, often traditional formulae。  Under the influence of Walt Whitman’s free verse, the 20th century’s American poetry set off a wave of free verse poetry creation。 Free verse emphasized poets’ emotions, consciousness and thoughts, abandoned traditional poetic format, abandoned rhyme, so there would not be rhythm。 All these became the mainstream of the 20th century’s American modern poems。 However, Robert Frost persisted in using traditional poetic form for his poetry creation, just like he said to his friend John。 T。 Barlett, “I am possibly the only person going who works on any but a worn out theory (principle I had better say) of versification。 You see the great successes in recent poetry have been made on the assumption that the music of words was a matter of harmonized vowels and consonants。。。。。。”(Frost 263)。 The theory of versification mentioned here is the poetry creation of traditional poems。 It asked poets to consider rhythm in their poetry creation。 So Robert Frost put forward his view of creation, “I alone of English writers have set myself to make music out of what I may call the sound of sense。。。。。。The best place to get the abstract sound of sense is from voices behind a door that cuts off the words。。。。。。It is the abstract vitality of pour speech。。。。。If one is to be a poet he must learn to get cadences by skillfully breaking the sounds of sense with all their irregularity of accent the regular beat of the metre。” The “sound of sense” is actually the traditional poetic form。