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1. Into My Own
The youth is persuaded that he will be rather more than less himself for having forsworn the world.
One of my wishes is that those dark trees,
So old and firm they scarcely show the breeze,
Were not, as 'twere, the merest mask of gloom,
But stretched away unto the edge of doom.
doom: 1.운명 2.파멸 3.운명짓다
I should not be withheld but that some day
Into their vastness I should steal away,
Fearless of ever finding open land,
Or highway where the slow wheel pours the sand.
I do not see why I should e'er turn back,
Or those should not set forth upon my track
To overtake me, who should miss me here
And long to know if still I held them dear.
e'er : ever
They would not find me changed from him they knew--
Only more sure of all I thought was true.
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The prospect of losing Elinor to another man was more than he could bear, and he preferred oblivion to the anguish of living day by day without her. This mood inhabits the startling first stanza of “ Into My Own ,” with which his first book of poems would open:
One of my wishes is that those dark trees,
So old and firm they scarcely show the breeze,
Were not, as ’twere, the merest mask of gloom,
But stretched away unto the edge of doom.
#
The settings of the poems shift from autumn through subsequent seasons and back to autumn, beginning with “ Into My Own ,” which only in Frost’s self-mythologizing retrospective sight could be seen as being about the flight from Dartmouth or into the Dismal Swamp. It is a poem about retreat, but a curiously rigid self-confidence suffuses the final couplet: “They would not find me changed from him they knew— / Only more sure of all I thought was true.” This stubborness lies at the heart of Frost’s poetry: a willed resistance to mutability, to any external efforts to produce change. Experience, for him, was largely a mode of confirmation.
#
Into My Own,” which opens A Boy’s Will and remains the entry into Frost’s Complete Poems, is about a journey that the poet does not make:
One of my wishes is that those dark trees,
So old and firm they scarcely show the breeze,
Were not, as ’twere, the merest mask of gloom,
But stretched away unto the edge of doom.
Although Frost presents himself as a “realist,” he repeatedly suggests that the landscapes he writes about are interior settings, more dreamscape than landscape. He feels a pang of regret that the trees swaying before his eyes are “the merest mask of gloom” and not something hard and real. The power of Frost’s poetry derives, in part, from the aura of powerful sentiment barely held in check. “A poet is a master of sentiment,” he said to himself in his notebooks.23 “You’ve got to feel it, the emotion,” he said elsewhere, “but you hold back from saying it, keep it in. The power is there.”24
From "Robert Frost : A Life "
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나를 찾아서
나의 한 가지 소망은 저 어두운 나무들이
해묵고 단단하여 바람 한 점 없으니,
뭐랄까, 그것들이 우울의 가면에 불과하지 않고,
운명의 끝까지 뻗어 있으면 하는 것이외다.
나는 어느 날 훌훌 털고 일어나
느릿한 바퀴가 모래를 쏟아내는 신작로나,
광활한 토지를 발견할 두려움도 떨치고,
저 광막한 숲 속으로 살그머니 사라질 것이외다.
내가 거기서 돌아설 이유가 도무지 보이지 않으니,
이곳에서 나를 그리워하고, 여전히 내가
사랑하는지 알고픈 사람들은
내 뒤를 따라잡으면 될 것이외다.
그리하면 그들은 옳다고 생각했던 것을 더욱 확신하는 나―
조금치도 변하지 않은 나를 발견하게 될 것이외다.
-신재실 옮김-
출처: http://blog.naver.com/PostList.nhn?from=postList&blogId=js9660&categoryNo=31¤tPage=67
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33. 知人者智(상대방을 아는 사람은 지모가 있으나)
知人者智, 自知者明,
勝人者有力, 自勝者强,
知足者富, 强行者有志,
不失其所者久, 死而不亡者壽.
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One of my wishes is that those dark trees,
So old and firm they scarcely show the breeze,
Were not, as 'twere, the merest mask of gloom,
But stretched away unto the edge of doom.
I should not be withheld but that some day
Into their vastness I should steal away,
Fearless of ever finding open land,
Or highway where the slow wheel pours the sand.
I do not see why I should e'er turn back,
Or those should not set forth upon my track
To overtake me, who should miss me here
And long to know if still I held them dear.
They would not find me changed from him they knew―
Only more sure of all I thought was true.
내 소망중 하나는 오래되고 단단하여
바람에도 흔들리지 않는 저 검은 나무들이,
단지 우울의 가면을 걸쳐놓은 것이 아니라면
세상이 끝나는 마지막까지 뻗어나갔으면 하는것이다.
어느날, 저 광활함속으로
가는 나의 길을 막을 것이 없으리
공터나 모래를 휘날리는 차가 다니는
길을 마주칠 두려움없이
내가 돌아올 이유는 없으리..
또한 나를 못잊고 아직도 내가 사랑하고
있는지 알고 싶어하는 이들이 나의 길을
뒤쫓아 와서도 아니되리..
그들은 내가 변치 않았음을 알게 되리라.
나의 소신이 더욱 확고해진 것 외에는...
라임도 완벽하고 참 좋은 시인데... 번역해놓고 보니 엉성합니다(죄송합니다) 원어로 즐기세요...
출처: http://cafe.daum.net/wizz/8eKM/93?q=into%20my%20own
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“Into My Own” (1913)
In “Into My Own,” the prophetic first poem of
Frost’s first book, A Boy’s Will, Frost goes deep into
nature. The poem appeared with the gloss, “The
youth is persuaded that he will be rather more than
less himself for having forsworn the world.” Frost
wrote in a letter to F. S. Flint on January 21, 1913,
that “When the life of the streets perplexed me a
long time ago I attempted to find an answer to it for
myself by going literally into the wilderness,” (Barry,
86), and that is precisely what he does here. As
George F. Bagby writes, “the self is lost or over
whelmed in order to be clarified” (30).
Growth and understanding are discovered by a
journey into dark trees, “So old and firm they
scarcely show the breeze.” Frost largely wrote in tra
ditional verse form and had an affinity for the son
net, which he once described as “eight lines, then
six lines more,” and after the first eight lines, a turn
“for the better or the worse.” Here we are presented
with a series of dark images early on: “the merest
mask of gloom” in line three and “stretched away
unto the edge of doom” in line four. The “mask”
alerts us that something is unrevealed, and it seems
that it is nature that is deceptive. The poem begins,
“One of my wishes is that . . .” and we later learn
that the speaker seeks the truth, and perhaps wants
it to “br[eak] in,” as it does in “Birches.” He wants
nature to reveal itself and its “doom,” rather than
hide itself behind an agreeable mask.
As in “The Road Not Taken,” here the speaker
avoids the road and seeks instead the darkness of
the forest. His goal is to “steal away” into it, “fear
less of ever finding open land, / Or highway where
the slow wheel pours the sand,” and with purpose.
While he wants nature to reveal itself, he wants to
conceal himself. The slow wheel here refers to the
wheel of time, the image of pouring sand to an
hourglass. He wants to be fearless of nature and
time, which are frequently linked.
The speaker seeks to discover what nature
means for him. The third stanza presents a turn
for better or worse when, upon entering the dark
ness, he says, “I do not see why I should e’er turn
back, Or those should not set forth upon my track
/ To overtake me, who should miss me here / And
long to know if still I held them dear.” The will
carries the speaker into nature because it holds
answers, but it is only through entering it wholly
that he can find them. Indeed, there he becomes,
as the final line states, “more sure of all [he]
thought was true.” The ending demonstrates a
shift in that the speaker is surprisingly unchanged;
his friends “would not find me changed from him
they knew,” but at the same time he is “more
sure.” The final couplet, generally meant to make
all come clear, is somewhat ambiguous. He both is
and is not himself, just as in Shakespeare’s “Troi
lus and Cressida,” Troilus finds that Cressida
“both is and is not my Cressid.”
Knowledge and understanding are acquired by
the end of the poem. The early intuition of things
as they are becomes, at journey’s end, an affirma
tion grounded in experience.
Frost frequently makes an effort to set aside his
fears and to forge ahead. In this sonnet, instead of
resisting the “edge of doom,” he wants to hover at
the edge, freeing himself to delve deeply into nature
and absorb all that it holds. We may sometimes
struggle to break free from nature and to deny our
susceptibility to its forces, but Frost often struggles
to separate himself from mankind and go into
nature. It is not that he sees them as distinct; he
seems to feel that living in the world of people rather
than the darkness of the little-known trees inhibits
understanding of life in its fullness, and in this
respect he is similar to the British romantic poets
and the American transcendentalists. Avoiding the
darkness keeps us in the dark. For Frost, we must
head into nature in order to head into ourselves.
The answers are to be found in the darkness, and
the darkness is internal, not external, and therefore
is not to be avoided. See “The VANTAGE POINT” for
an example of the poet considering retreating from
nature and “seek[ing] again mankind.”
“Into My Own” was first published in the May
1909 issue of New England Magazine. See NATURE
and FUGITIVE.
FURTHER READING
Bagby, George F. Frost and the Book of Nature. Knox
ville: University of Tennessee Press, 1993, 30.
Barry, Elaine. Robert Frost on Writing. New Brunswick,
N.J.: Rutgers University Press, 1973, 86.
Calhoun, Richard J. “By Pretending They Are Not
Sonnets: The Sonnets of Robert Frost at the Mil
lennium.” In Roads Not Taken: Rereading Robert
Frost, edited by Earl J. Wilcox and Jonathan N.
Barron, 217–235. Cambridge: University of Mis
souri Press, 2000.
Parker, Blanford. “Frost and the Meditative Lyric.” In
The Cambridge Companion to Robert Frost, edited by
Robert Faggen, 179–196. Cambridge: Cambridge
University Press, 2001.
Richardson, Mark. The Ordeal of Robert Frost: The
Poet and His Poetics. Chicago, Ill.: University of Illi
nois Press, 1997, 213.
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A Journey of Independence
Robert Frost’s poem, “Into My Own”, is an easily relatable poem, especially among young adults who are figuring out their place in the real world. In the poem, Frost describes a journey, both mental and physical, that the speaker longs to undertake. It is comparable to the journey taken when one finds out that he must be his own person and make his own way in the world. This poem portrays a quest, similar to that of a college-aged person, for independence and self-awareness through symbolism of a dark forest.
In the first stanza, the “dark trees” symbolize a mysterious future (Frost 1). The unknown has always been revered as a subject of fascination, so it is only fitting for someone seeking independence to look where he has not yet been. The speaker hopes that the trees, and therefore the future, are “stretched away unto the edge of doom” (Frost 4). Although this image seems dark, it is somewhat comforting to imagine an endless future, full of possibilities. This never-ending forest would provide an escape for the speaker to “steal away” and hide from reality, while finding his true self without influence from society (Frost 6). The speaker also describes himself as “fearless”, which indicates that he is bold and eager to begin his new journey, regardless of the obstacles standing in his way (Frost 7).
In the third stanza, the poem takes on a lighter tone as it switches from describing the physical landscape and impatience to begin, to considering the people in the speaker’s life. The speaker acknowledges that his journey to self awareness will be lifelong, and that once he embarks, he cannot return to his former ignorant, dependent self: “I do not see why I should e’er turn back” (Frost 9). He also expresses hope that his loved ones will follow his lead and find him when he is on his trek. This way, he can sort out those who really care and are willing to make an effort from those who are simply artificial friends. In the last couplet, the speaker assures his friends and family that they will not be disappointed by what they find: “They would not find me changed from him they knew” (Frost 13). Rather, he will be even more convinced of his beliefs and more confident in himself when his independence is fully recognized.
As a college student myself, I found this poem very easy to apply to my own life. It strikes such a chord in me, in fact, that I feel it could have been written about my own ongoing search for independence. Although I do not know what the future holds, let alone how to prepare for the adventures ahead, I am eager to find what lies ahead. I feel that I have already entered the dark, foreboding forest by attending a college nine hours away from my home. Leaving my small, square mile town and modest home in the north in order to come to a very large, southern state school was a bit daunting at first. However, I knew that it would be one great adventure, as well as a much-needed way to find independence. Being this far from home has allowed me to grow up, to take responsibility for my own actions, and to take charge of my own life. I have the power to make choices that could affect my life for a week or for several years, but I also obligated to clean up the messes I make in life by myself. I have become self-reliant, something which I can never give up. My beliefs and opinions have also been strengthened, because I depend solely on my own thoughts and experiences to form my views, rather than allowing myself to be influenced by my family and friends. In the end, I hope they will be proud of me, for I have not changed as a person, only grown into a fuller, more complete version of myself.
출처: https://owlcation.com/humanities/Robert-Frosts-Into-My-Own-Analysis
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Introduction:
Standing close to a line of “dark trees”, the “fearless” speaker “wishes” they could “steal away” into “their vastness” and discover their place in the world. Robert Frost’s “Into My Own” explores our deep desire to break through the social and psychological boundaries in our lives which prevent us from achieving our ambitions and realising our “true” selves.
Setting:
The “trees” are introduced by the demonstrative adjective “those”, which locates the speaker in close proximity to the woodland, and they are described by the almost child-like adjective “dark”. Despite being beside the treeline, he is unable to see beyond the first rows. Frost often uses the wild and mysterious woods as a signifier of the future and that is certainly true in this poem.
The second line describes the “trees” as “old” and “firm” with their deep roots and permanence reinforced by the intensifier “so”. They also seem unfazed by the wind and “scarcely show the breeze”. In this way, the poet presents the “trees” as almost impenetrable, making it difficult for the speaker to “steal” into their “vastness”. In turn, this might symbolise our inability to accurately predict the future.
Alternatively, the intimidating “old” and “firm” line of “trees” represent the unyielding traditional values held by sections of society which prevent him from breaking free from his responsibilities and becoming “all” he “thought was true”. Or they could refer to his own overwhelming fears and doubts. In fact, the “trees” could represent any obstacle we face in our lives as we search for self-actualisation.
In the first stanza, the speaker describes the “trees” as the “merest mask of gloom” but “wishes” they “stretched away unto the edge of doom”. The third line suggests the “trees” are finite and their “gloom” lacks the depth he needs to totally escape from his mundane world. He wants a forest that extends beyond the “mask” all the way to the “edge of doom” and his inevitable death.
Their “vastness” brings tremendous danger, excitement and possibility. If they are never-ending, he will never be able to return to “open land” and he will remain “true” to himself. In this way, Frost takes these simple images of setting and shapes them into a story of self-determination and the desire to escape from society’s precepts.
The Speaker:
Since the poem was published in Frost’s first collection “A Boy’s Will” (1913), the speaker is probably a young man who “wishes” to find his own way in the world and explore uncharted territories rather than remain in the “open land” that is already defined and controlled. This is a feeling most people have experienced and the reader will immediately sympathise with his predicament.
The speaker “wishes” the line of “trees” were something more substantial he could disappear into and escape completely from his current rut. The poem concludes with the idea that the change in location would not change his perspective or personality. Instead, it would allow him to become his “true” self.
At the start of the second stanza, he declares he “should not be withheld”. It seems nothing can restrain him from fulfilling his potential. However, the use of the modal verb “should” suggests there might be something holding him back, such as the “old and firm” trees and whatever they signify in his life, but the poem argues those obstacles “should not” physically or morally impede his progress.
Perhaps the speaker is worried his journey will only take him through the “merest mask of gloom” and not all the way “unto the edge of doom”. If he is to take the life-changing decision and break into the “vastness” of the woods, he wants to be absolutely “fearless” that he will not end up suffering the same problems in some other “open land”.
Also, needing to “steal” into the “vastness” of the endless woods implies he has no right leave his old life behind and discover a new one elsewhere. Stealing something is usually associated with concealment and secrecy so he must act in a way which will be frowned upon by others.
The speaker clearly understands it is never easy to make the big decisions in life.
출처: https://subplotter.com/frost-heaney/into-my-own/
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https://youtu.be/EtQTTaMOivM?list=PLpBINv9B8dRKQfeQ6aPNc1EH4dAIIwGah
https://youtu.be/JlNM9AD6pU0?list=OLAK5uy_l4k2ObJUMCEroFFmDz0oExtPCH4SnEsu0