The Ecocritical concerns in the selected poems of Robert Frost

 

The Ecocritical concerns in the selected poems of Robert Frost

•  conclusion:- 

Ecocriticism is concerned with ecology. Ecology is the interdisciplinary study of plants and animals' interactions with one another and with their surroundings. Most of the time, people in modern civilization do not properly find the interdisciplinary relationship of plants and animals to each other and to their environment in town or city and only see buildings, factories, offices, residents, schools, colleges, and universities. Such interdisciplinary relationships are only found in rural areas. A reader gets the rural environment of New England, non-human nature, pastoral art, and a sense of consciousness about rapid deforestation for increasing food production, residents to the overgrowth people, from Robert Frost's poems.

Robert Frost is regarded as one of the twentieth century's most outstanding poets, not only in American literature but also in world literature. The theme of nature appears in the majority of his poems, which primarily describe New England rural pastoral scenery and wildlife. His poetry is infused with regional flavour and pastoral sentiment. Frost's creation is based on natural elements. His nature poems have simple language, wonderful artistic conception, and profound meanings. A critical reader will easily detect elements of rural environment and culture in his poems. These characteristics include a rural setting, non-human nature, pastoral art, and a sense of consciousness.

Most of Robert Frost's poems, particularly 'The Pasture,' 'The Ghost House,' 'The Road Not Taken,' 'Out Out,' 'Stopping by Woods on a Snowy Evening,' 'Mowing,' 'Reluctance,' 'The Death of the Hired Man,' 'After Apple-Picking,' and 'Mending Wall,' are related to the modern theory of ecocriticism. I can give him the label "Robert Frost is an Eco-critical poet" based on my own justification, which takes into account his thinking, ideas, imagery, writing styles, settings, and so on. Again, Robert Frost is a true realist. As natural tools, he employs rural environment and culture, traditional and natural elements, individual concepts of nature, common language, and natural magery. 

As components of eco-critical theory, all tools are included. Robert Frost is unquestionably an American eco-critical poet, based on his writing style, use of tools in his poems, and theme.

When considering Robert Frost's art, it could be argued that his ultimate and secondary concern is to encompass and integrate a balanced and harmonious relationship between man and nature. As a result, by incorporating an ecocritical perspective into his poetic output, he is able to revisit and revalue the significance of nature in the context of the present era. To gain environmental consciousness, the problems of rapidly changing global climate and the plight of animal communities necessitate a profound understanding and revaluation of Frost.

Nature and literature have always had a close relationship, as evidenced by the works of poets and other writers throughout the ages in nearly every culture on the planet. The intimate relationship between the natural and social worlds is now being studied and emphasised in all fields of knowledge and development. Eco-criticism is based on a long tradition of criticism that views nature as an aesthetic object rather than a scientific subject. For an eco-critic, the text becomes a place where various aspects of nature are dissected and analysed scientifically.

A text is merely a construct in which science is called upon to assess Nature's inherent beauty as well as utility. Robert Frost is one of nature's greatest poets, who adored and penned her colours with a powerful message. He was well-known for his tours as a charismatic public reader. His popularity is simple to explain: he wrote about traditional farm life, appealing to a longing for simpler times. His topics are universal.

To summarise, ecocriticism, as a distinct approach to literary criticism, pays increased attention to literary representatives of nature and is sensitive to interdependencies that ground the author, character, or work in the natural system. This method shifts the critical focus away from social relationships and toward natural relationships.

Robert Frost has expressed an interest in nature, culture, and landscape. He uses nature as an image he wants us to see or as a metaphor to which we can relate on a psychological level. Dark woods, a mix of fear and desire, represent man's great desire for knowledge of the unknown that awaits him.

 In his poems, he frequently emphasises the contrast between man and nature, as well as the conflicts that arise between the two entities. In his poetry, he recognised the harsh facts Are You Serious: of the natural world and saw these opposites as simply different aspects of reality.

Robert Frost was America's most popular poet and laureate in the twentieth century, and he wrote many poems throughout his life. Frost's poems contain philosophical references to the relationship between man and nature. Reading and reflecting on his poem from the perspectives of natural philosophy and ecocriticism has a significant impact on our modern lives. This paper focuses on Frost's poems from three perspectives: emphasising the intention, theme, and rhythm of the poems themselves; studying the internal language, structure, and function of the poems with the theoretical paradigms of British, American, new criticism, and Russian formalism; applying modernist literary theory research methods to Frost's poems; and taking the poems of different stages as the noumenon in Destiny.

The author examines relevant works, which can be divided into three types, by reading a large number of documents: 1. Analysis of specific poems' images, metaphors, and symbols, such as Wang Xingwei's comments on ambiguity in Robert Frost's poem Good Times; 2. From a philosophical standpoint in Robert Frost's poems, philosophical analysis is mostly made from the combination of specific texts of people, people and society, and people and nature, such as the study of philosophical characteristics of Frost's poems.

According to the research, most of them only pay attention to a single angle of study in literary works, such as theme, philosophical angle, or image, and so on, and the research on language or stylistics is even less, but the author believes that this research is not comprehensive. The author attempts to study Frost's poems from a systematic and comprehensive standpoint, and examines Frost's poems in his life from the perspectives of language, literature, and history, as well as philosophy.

It not only covers stylistics, images, metaphors, homophones, and rhythms at the linguistic level, but it also expounds the ecological view of harmonious coexistence between man and nature from the standpoint of ecological criticism with transcendentalism and pragmatism, arousing people's protection of the ecological environment and establishing people and nature in the form of literary poems. 

This is extremely important for people to better understand the social and spiritual values conveyed by poems written far from the crowd, to rethink human beings' place in nature and the environment, and to build a Community of Shared Future for Mankind Frost uses nature as an image he wants us to see or as a metaphor to which we can relate on a psychological level. Perhaps the most lucid interpretation of Frost's lyric is that, following Emerson's pattern of natural analogies, "things admit of being used as symbols because nature is a symbol, in the whole and in every part."

The dominant image of darkness recurs as a major theme in the majority of his poems. Dark woods, which combine fear and desire, represent man's great desire for knowledge of the unknown that awaits him. They do everything they can to entice him. Frost uses nature in his poem "Desert Places" to express the speaker's thoughts and feelings as he sits in his room looking out into a dark snowy night.

The last two lines of the poem formulate the entire poem's thesis, when the speaker knows that he is not afraid of the places outside but is afraid of his own empty lonely places in his mind, which causes distress in his life. The speaker is referring to his own mind as "home," which is far more dangerous than the woods or outer space. The poem "Stopping by Woods on a Snowy Evening" recreates a scene that is nearly identical to "Desert Places." The black trees entice and wowed the backpacker here. The horse in the poem is perplexed and wishes to continue.

Another traditional symbol used by Frost to depict his thoughts on the eternal is snow. All seasons, according to Frost, lead out of winter. Winter and its avalanche of white snow are essential to the poems' existence. It represents the paradoxical life-in-death without which spring will never awaken.

Frost, like any true environmentalist, reverses his position and celebrates water, the elixir of life. Frost, like Eliot, associates water with fertility and vigour. The stream is presented as an emblem in his "West Running Brook," in which a young couple recognises the running water as completing the triumvirate of their marriage.

Frost, while emphasising the inevitability of preserving nature for the sake of future generations, poignantly and vehemently explodes on man's depredations that degrade nature's sanctity. 

He demonstrates man's callousness by running roughshod over a brook's "immortal force" with his houses, curbs, and street, burying the brook "deep in a sewer dungeon." Frost discusses man's irresponsible play with bonfires, which is just as destructive as man's perversity in playing with gunfire. Frost depicts the ominous upheaval of the entire ecology caused by shells, whose poison spreads like a creeping fog over hill and pasture. 

Frost's interest in human relationships encompasses a wide range of complexities. In "The Fear" and "A Servant to Servants," psychological and sexual issues intertwine. Love encompasses all types of relationships, from the simple one between a man and a woman in "Meeting and Passing" to the complex one involving all of humanity in "Once by the Pacific." Frost has become a major poet of the twentieth century, a poet of man and nature, thanks to his craftsmanship and creative imagination. His primary concern has always been with man, followed by nature. If he appears to some to be a nature poet, it is only because he has generously glazed his poetry with nature to make an already glowing performance shine even brighter.

We cannot deny that, since the dawn of civilization, both women and nature have been essential components of any society or culture. The reason for this is that a woman is the pillar of a home because she is the creator of the hand that rocks the cradle and rules the human beings on earth; she also creates a family, and these families form the foundation of a nation. Nature, like woman, makes offerings to the "man-made society" and never asks for anything in return. In this way, we can say that, while women are undoubtedly the creators of nations, the role of Nature cannot be underestimated.

The reason for this is that, since a child's birth, it is both mother and nature who polish a person's personality mother as a social teacher and nature as a moral one. As a result, their importance cannot be overstated. Despite this, they have both been marginalised since ancient times. Women and Nature have always been regarded as property by the so-called patriarchal society. The male-dominated society views women and nature as subservient creatures created by God for their benefit.

However, one must remember that these two inseparable parts of our society, which are considered inferior in the eyes of patriarchal society, are the wheels on which this earth depends because women physically give birth to men in this world and Nature controls that existence throughout our lives because we rely on Nature for food, air, and other life-giving objects. In fact, the same patriarchal society never gave women the opportunity to stand shoulder to shoulder with men. It is one of the most basic facts that we have reached the Moon and Mars in this modern era and are still progressing day by day. 

Robert Frost's poetry attempts to contribute to the efforts of Ecofeminists who came before them. He is concerned with rural life, and Nature is always present as a backdrop. Frost's best poetry depicts man's interactions with nature. His attitude toward Nature is one of armed and amicable truce and mutual respect, interspersed with boundary crossings between the two primary forces of the world and the individual.

However, if we delve deeply into his poems, we discover that nature is a replica of women, and by dictating man's dreadful activities towards Nature, Frost attempts to bring to light the all-pervading lamentable condition of women. In the same way that patriarchal society is deaf to women's sighs and tries to crush them with all of its might, when Nature expresses her outrage towards men due to their interference with the natural surroundings in the form of snowfalls, storms, glacier melting, and other natural disasters, humans try to overpower them by cutting down trees because they believe that both women and Nature exist solely to serve men.

In addition, Frost's poetry depicts the aftermath of man's overindulgence in Nature's deeds in the form of draughts, battles over public land use, protests over nuclear waste dumps, and many other things that makeFinally, we must state that Frost's plea for women is unmistakably linked to ecofeminism theory. It should be noted here that, in the opinion of ecofeminists, patriarchal society oppresses both women and nature. Nature, too, is viewed as Mother Nature, whose sole purpose is to reproduce and provide services to a male-dominated society. Men do not value the services of women or nature. Men, in fact, benefit from the labour of women and nature.

 our lives inhospitable to live. However, it is a well-known fact that there are layers of meaning wrapped in a single word in Frost's poetry. Frost's depiction of nature's exploitation is reminiscent of women's plight.

However, we cannot ignore the fact that without the contribution of women in domestic affairs, such as food preparation, child nutrition, and proper care of the elderly and sick, as well as the contribution of Nature, such as providing us with fresh air, fruits to eat, trees for shade, and water, our lives would be unimaginable as these factors create a healthy society; Nature, too, shares an inseparable bond with human beings as our lives would be unimaginable in I.which changed our traditional concept of emphasising human beings as masters of nature in the past, and established a new model of the relationship between man and nature, which coincides with the realistic embodiment of Frost's view of nature in our poems, and has the consistency beyond time and space In his poem "Repairing the Wall," we can see the heart wall between people, which can further the relationship between people, people and society, foreign culture and Chinese culture.

It necessitates that we promote interpersonal communication and understanding, exchange and learn from each other's cultures, and create a new era of Community of Shared Future for Mankind. His research content is metaphorical analysis and intentional schema of poetry, and he employs Lakoff and Johnson's metaphorical theory. Second, two metaphorical perspectives of "plant-human" and "animal-human" were established from the standpoint of literary history.

Frost's research is primarily focused on literary history, based on external research. Paul Mandoon believes that his poetry has become part of a larger network that extends beyond the framework of characters and poetry itself, and that text reading requires a specific context.

Simultaneously, this paper examines the philosophical relationship between man and nature in Frost's poems through the lens of ecological civilization in a new era. In Frost's poems, man and nature are inextricably linked, and his poems are rich in philosophical wisdom. This is yet another implication of rereading Frost's civilised ecological view in the twenty-first century in the context of ecological environment crisis, global warming, sea level rise, and animal and plant extinction. Frost proposed three philosophical relationships in his poems in A Study on the Philosophical Characteristics of Frost's Poetry.

The environment has posed a significant threat to human culture as well as the mother earth. The widespread abuse of distinguishing assets has left us on the verge of extinction. The rainforests are being cut down, petroleum derivatives are rapidly depleting, the seasonal cycle is being disrupted, natural ecological disasters are becoming more common around the world, and our environment is on the verge of collapse. Under the circumstances, another hypothesis of perusing nature composing emerged amid the most recent decade of the previous century called Eco-criticism. It is a global upward expansion that emerged as a response to man's human-centric state of mind of ruling nature.

The purpose of this paper is to shed light on and investigate eco-critical viewpoints as depicted in some selected world literature as well as Indian writing in English. This naturally arranged investigation of writing realises a biological proficiency among the readers, who as a result move toward becoming consIt is an interpretive instrument for studying nature that is commonly associated with environmental criticism, animal studies, deep ecology, and ecofeminism.cious, taking great consideration of Mother Nature. One of the major concerns of the day is the natural concern. Eco-criticism has progressed quickly in the short time since the presentation.

Eco-criticism is a broad route for literary and social researchers to investigate the global natural disaster through the intersection of writing, culture, and the physical environment. It is one of the most recent revisionist developments to sweep through the humanities in recent decades. The modern world is confronted with ecological disasters, and our current state is in jeopardy. Currently, science and innovation are insufficient to combat the global ecological disaster.

We should work on improving our attitude toward nature. Literature does not float above life, so it has a mission to fulfil. For a long time, nature was not given due consideration by scholarly commentators, so ecologically organised literature argues for a better understanding of nature in its greater vastness. During the last few decades, ecocriticism has grown into a global movement. Eco-criticism or environmental criticism is a term used to describe literature and environmental studies.

The analogy to the more general term scholarly feedback-involves a diverse, pluriform, and cross-disciplinary activity that expects to investigate the ecological dimensions of literature and other imaginative media in a soul of ecological concern that is not constrained to any one technique or responsibility. Eco-criticism begins with the conviction that expressions of the human experience of creative energy, and the examination thereof- by prudence of their grasp of the intensity of word, storey, and picture to strengthen, excite, and coordinate ecological concern- can contribute fundamentally to the understanding of natural issues or environmental problems. The three notable American writers whose works praise nature as a genuine existence drive and the wild as depicted in America provide the impetus for eco-criticism. R.W. Emerson, Margaret Fuller, and Henry David Thoreau are their names. They were a part of the visionaries, a group of New England writers, poets, essayists, and philosophers who were the first major abstract development in America to achieve'social freedom' from European models. In his first intelligent prose narrative Nature, R. W. Emerson revelled in the impact of nature.

The works of three notable American writers who praise nature as a genuine existence drive and the wild as depicted in America provide impetus for eco-criticism. Their names are R.W. Emerson, Margaret Fuller, and Henry David Thoreau. They were among the visionaries, a group of New England writers, poets, essayists, and philosophers who pioneered the first major abstract development in America to achieve "social freedom" from European models. R. W. Emerson revelled in the impact of nature in his first intelligent prose narrative Nature.

As a result, Eco-criticism emerged as a written development within writing studies in the mid-1990s, a significant age later than the primary such developments within the ecological humanities. Its growth has been rapid, to the point where, in less than two decades, it has expanded beyond its original Anglo-American base and now boasts about six insightful diaries in Europe, North America, and Asia.

However, eco-criticism remains in a state of unfolding rather than combination. In light of the current natural disasters all over the world, it has shifted its shading from local to global perspectives. People have only one earth to live on, and we are on the verge of being demolished unless we keep an eye on the blue planet. If we want to hear the earth's melody, we must immediately change our humancentric perspective. There are numerous environmental points of view in world literature.

Condition, as an inseparable component of human culture, takes precedence in all major sanctioned works. A natural understanding may lead to a few new perspectives. Indian philosophy and writing are not an exception to this rule. From antiquity to the digital age, Indian writing has been flooded with environmental concern.

They persuade us to consider how we can live a happy life in harmony with nature. These ecological literary works flawlessly manage the key note of eco-writing, human instinct relationship and interconnection. The basic message is to preserve nature in all of her glory; let us not destroy what we cannot create. The more environmentally conscious works will be exhibited in the centre.