Modern F. Robert Frost

1547 WordsNov 15, 20157 Pages
David Ahlman Charles Vogel English 2520-601 Due Date: November 9th, 2015 Robert Frost: Modern Multiplicity Robert Frost is a multiple poet. –Louis Untermeyer What is customary and, therefore, stereotypical of modern artistic thought is the belief that only one central meaning can be gathered from any one reading; that these singular interpretations support, give credence and justify hegemonic forces or grand narratives in society. Defining the term “modern” in his work The Postmodern Condition: A Report on Knowledge, Jean-Francois Lyotard “designate[s]” this name and movement to “any science … legitimat[ing] itself … [by] making an explicit appeal to some grand narrative” (xxiii). It is thus to the disgust of postmodernists to find Robert Frost’s name, poems and poetry listed with such a narrow-minded, self-aggrandizing, so-called sophisticated group (like T.S. Eliot, Ezra Pound and Amy Lowell) since Frost was not a poet who believed science and language—nor the source of science and language—to be singular, but rather ulterior, double speaking or multiplicitous. In short, Frost believed duplicity or duplicitous interpretations should be drawn out of the reader with the help of the author through the medium of poetic form which, to him, paradoxically eliminates the author’s influence on the reader. A sample of Frost’s multiplicity or multiplicitous form can be extracted from the opening line of one of his last well-known poems “Directive” whose first line begins “Back out

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