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Robert Lee Frost 3p

Biography 4p

Work 7p

Popular Poems 12p

Robert Lee Frost was an American poet. His work was initially published in England before it was published in America. He is highly regarded for his realistic depictions of rural life and his command of American colloquial speech. His work frequently employed settings from rural life in New England in the early twentieth century, using them to examine complex social and philosophical themes. One of the most popular and critically respected American poets of the twentieth century, 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."He was awarded the Congressional Gold Medal in 1960 for his poetical works. On July 22 1961 Frost was named Poet laureate of Vermont by the state legislature through Joint Resolution R-59 of the Acts of 1961, which also created the position.

RobertLee Frost

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Born

Robert Lee FrostMarch 26, 1874San Francisco, California, US

Died

January 29, 1963 (aged 88)Boston, Massachusetts, US

Occupation

Poet, playwrightNotable works

A Boy's Will, North of Boston

Early yearsRobert Frost was born in San Francisco, California, to journalist William Prescott Frost, Jr., and Isabelle Moodie. His mother was of Scottish descent, and his father descended from Nicholas Frost of Tiverton, Devon, England, who had sailed to New Hampshire in 1634 on the Wolfrana.Frosts father was a teacher and later an editor of the San Francisco Evening Bulletin, and an unsuccessful candidate for city tax collector. After his death on May 5, 1885, the family moved across the country to Lawrence, Massachusetts, under the patronage of (Roberts grandfather) William Frost, Sr., who was an overseer at a New England mill. Frost graduated from Lawrence High School in 1892.Frosts mother joined the Swedenborgian church and had him baptized in it, but he left it as an adult.Although known for his later association with rural life, Frost grew up in the city, and he published his first poem in his high schools magazine. He attended Dartmouth College for two months, long enough to be accepted into the Theta Delta Chi fraternity. Frost returned home to teach and to work at various jobs, including helping his mother teach her class of unruly boys, delivering newspapers, and working in a factory maintaining carbon arc lamps. He did not enjoy these jobs, feeling his true calling was poetry.

Biography

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Adult yearsIn 1894 he sold his first poem, My Butterfly. An Elegy for $15 ($409 today). Proud of his accomplishment, he proposed marriage to Elinor Miriam White, but she demurred, wanting to finWish college before they married. Frost then went on an excursion to the Great Dismal Swamp in Virginia and asked Elinor again upon his return. Having graduated, she agreed, and they were married at Lawrence, Massachusetts on December 19, 1895.

Frost attended Harvard University from 1897 to 1899, but he left voluntarily due to illness. Shortly before his death, Frosts grandfather purchased a farm for Robert and Elinor in Derry, New Hampshire; Frost worked the farm for nine years while writing early in the mornings and producing many of the poems that would later become famous. Ultimately his farming proved unsuccessful and he returned to the field of education as an English teacher at New Hampshires Pinkerton Academy from 1906 to 1911, then at the New Hampshire Normal School in Plymouth, New Hampshire.

In 1912 Frost sailed with his family to Great Britain, settling first in Beaconsfield, a small town outside London. His first book of poetry, A Boys Will, was published the next year. In England he made some important acquaintances, including Edward Thomas (a member of the group known as the Dymock poets), T. E. Hulme, and Ezra Pound. Although Pound would become the first American to write a favorable review of Frosts work, Frost later resented Pounds attempts to manipulate his American prosody. Frost met or befriended many contemporary poets in England, especially after his first two poetry volumes were published in London in 1913 and 1914.

As World War I began, Frost returned to America in 1915 and bought a farm in Franconia, New Hampshire, where he launched a career of writing, teaching and lecturing. This family homestead served as the Frosts summer home until 1938. It is maintained today as The Frost Place, a museum and poetry conference site. During the years 191620, 192324, and 19271938, Frost taught English at Amherst College in Massachusetts, notably encouraging his students to account for the myriad sounds and intonations of the spoken English language in their writing. He called his colloquial approach to language the sound of sense.

In 1924, he won the first of four Pulitzer Prizes for the book New Hampshire: A Poem with Notes and Grace Notes. He would win additional Pulitzers for Collected Poems in 1931, A Further Range in 1937, and A Witness Tree in 1943.

For forty-two years from 1921 to 1963 Frost spent almost every summer and fall teaching at the Bread Loaf School of English of Middlebury College, at its mountain campus at Ripton, Vermont. He is credited as a major influence upon the development of the school and its writing programs. The college now owns and maintains his former Ripton farmstead as a national historic site near the Bread Loaf campus. In 1921 Frost accepted a

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fellowship teaching post at the University of Michigan, Ann Arbor, where he resided until 1927 when he returned to teach at Amherst. While teaching at the University of Michigan, he was awarded a lifetime appointment at the University as a Fellow in Letters. The Robert Frost Ann Arbor home was purchased by The Henry Ford Museum in Dearborn, Michigan and relocated to the museums Greenfield Village site for public tours.

In 1940 he bought a 5-acre (2.0 ha) plot in South Miami, Florida, naming it Pencil Pines; he spent his winters there for the rest of his life. His properties also included a house on Brewster Street in Cambridge, Massachusetts, that today belongs to the National Historic Register.

Harvards 1965 alumni directory indicates Frost received an honorary degree there. Although he never graduated from college, Frost received over 40 honorary degrees, including ones from Princeton, Oxford and Cambridge universities, and was the only person to receive two honorary degrees from Dartmouth College. During his lifetime, the Robert Frost Middle School in Fairfax, Virginia, the Robert L. Frost School in Lawrence, Massachusetts, and the main library of Amherst College were named after him.

In 1960, was awarded a United States Congressional Gold Medal, In recognition of his poetry which enabled the culture of the United States and the philosophy of the world, which was finally bestowed by President Kennedy in March 1962.

Frost was 86 when he read his well-known poem The Gift Outright at the inauguration of President John F. Kennedy on January 20, 1961. He died in Boston two years later, on January 29, 1963, of complications from prostate surgery. He was buried at the Old Bennington Cemetery in Bennington, Vermont. His epitaph quotes the last line from his poem, The Lesson for Today (1942): I had a lovers quarrel with the world.

One of the original collections of Frost materials, to which he himself contributed, is found in the Special Collections department of the Jones Library in Amherst, Massachusetts. The collection consists of approximately twelve thousand items, including original manuscript poems and letters, correspondence and photographs, as well as audio and visual recordings. The Archives and Special Collections at Amherst College holds a small collection of his papers. The most significant collection of Frosts working manuscripts is held by Dartmouth.

Signature

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Work

Style and critical responseThe poet/critic Randall Jarrell often praised Frost's poetry and wrote, "Robert Frost, along with Stevens and Eliot, seems to me the greatest of the American poets of this century. Frost's virtues are extraordinary. No other living poet has written so well about the actions of ordinary men; his wonderful dramatic monologues or dramatic scenes come out of a knowledge of people that few poets have had, and they are written in a verse that uses, sometimes with absolute mastery, the rhythms of actual speech." He also praised "Frost's seriousness and honesty," stating that Frost was particularly skilled at representing a wide range of human experience in his poems.

Jarrell's notable and influential essays on Frost include the essays "Robert Frost's 'Home Burial'" (1962), which consisted of an extended close reading of that particular poem, and "To The Laodiceans" (1952) in which Jarrell defended Frost against critics who had accused Frost of being too "traditional" and out of touch with Modern or Modernist poetry.

In Frost's defense, Jarrell wrote "the regular ways of looking at Frost's poetry are grotesque simplifications, distortions, falsificationscoming to know his poetry well ought to be enough, in itself, to dispel any of them, and to make plain the necessity of finding some other way of talking about his work." And Jarrell's close readings of poems like "Neither Out Too Far Nor In Too Deep" led readers and critics to perceive more of the complexities in Frost's poetry.

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In an introduction to Jarrell's book of essays, Brad Leithauser notes that, "the 'other' Frost that Jarrell discerned behind the genial, homespun New England rusticthe 'dark' Frost who was desperate, frightened, and bravehas become the Frost we've all learned to recognize, and the little-known poems Jarrell singled out as central to the Frost canon are now to be found in most anthologies."

Jarrell lists a selection of the Frost poems he considers the most masterful, including "The Witch of Cos," "Home Burial," "A Servant to Servants," "Directive," "Neither Out Too Far Nor In Too Deep," "Provide, Provide," "Acquainted with the Night," "After Apple Picking," "Mending Wall," "The Most of It," "An Old Man's Winter Night," "To Earthward," "Stopping by the Woods on a Snowy Evening," "Spring Pools," "The Lovely Shall Be Choosers," "Design," and "Desert Places."

In 2003, the critic Charles McGrath noted that critical views on Frost's poetry have changed over the years. In an article called "The Vicissitudes of Literary Reputation," McGrath wrote, "Robert Frost ... at the time of his death in 1963 was generally considered to be a New England folkie ... In 1977, the third volume of Lawrance Thompson's biography suggested that Frost was a much nastier piece of work than anyone had imagined; a few years later, thanks to the reappraisal of critics like William H. Pritchard and Harold Bloom and of younger poets like Joseph Brodsky, he bounced back again, this time as a bleak and unforgiving modernist."

In The Norton Anthology of Modern Poetry, editors Richard Ellmann and Robert O'Clair compared and contrasted Frost's unique style to the work of the poet Edwin Arlington Robinson since they both frequently used New England settings for their poems. However, they state that Frost's poetry was "less literary" and that this was possibly due to the influence of English and Irish writers like Thomas Hardy and W.B. Yeats. They note that Frost's poems "show a successful striving for utter colloquialism" and always try to remain down to earth, while at the same time using traditional forms despite the trend of American poetry towards free verse which Frost famously said was "'like playing tennis without a net.'"

In providing an overview of Frost's style, the Poetry Foundation makes the same point, placing Frost's work "at the crossroads of nineteenth-century American poetry [with regard to his use of traditional forms] and modernism [with his use of idiomatic language and ordinary, every day subject matter]." They also note that Frost believed that "the self-imposed restrictions of meter in form" was more helpful than harmful because he could focus on the content of his poems instead of concerning himself with creating "innovative" new verse forms.

ThemesIn Contemporary Literary Criticism, the editors state that "Frost's best work explores fundamental questions of existence, depicting with chilling starkness the loneliness of the individual in an indifferent universe." The critic T. K. Whipple focused in on this bleakness in Frost's work, stating that "in much of his work, particularly in North of Boston, his harshest book, he emphasizes the dark background of life in rural New England, with its degeneration often sinking into total madness."

In sharp contrast, the founding publisher and editor of Poetry, Harriet Monroe, emphasized the folksy New England persona and characters in Frost's work, writing that "perhaps no other poet in our history has put the best of the Yankee spirit into a book so completely." She notes his frequent use of rural settings and farm life, and she likes that in these poems, Frost is most interested in "showing the human reaction to nature's processes." She also notes that while Frost's narrative, character-based poems are often satirical, Frost always has a "sympathetic humor" towards his subjects.

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Pulitzer Prizes Poet laureate of Vermont

In June 1922 the Vermont State League of Women's Clubs elected Frost as Poet laureate of Vermont. When a New York Times editorial strongly criticised the decision of the Women's Clubs, Sarah Cleghorn and other women wrote to the newspaper defending Frost.

On July 22 1961 Frost was named Poet laureate of Vermont by the state legislature through Joint Resolution R-59 of the Acts of 1961, which also created the position.

1924

1931

1937

1943

New Hampshire: A Poem With Notes and Grace NotesCollected PoemsA Further RangeA Witness Tree

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Poetry collections

A Boys Will (David Nutt 1913; Holt, 1915)

North of Boston (David Nutt, 1914; Holt, 1914)

Mountain Interval (Holt, 1916)

Selected Poems (Holt, 1923)

New Hampshire (Holt, 1923; Grant Richards, 1924)

Several Short Poems (Holt, 1924)

Selected Poems (Holt, 1928)

West-Running Brook (Holt, 1928 or 1929)

The Lovely Shall Be Choosers, The Poetry Quartos, printed

and illustrated by Paul Johnston (Random House, 1929) Collected Poems of Robert Frost (Holt, 1930; Longmans,

Green, 1930) The Lone Striker (Knopf, 1933)

Selected Poems: Third Edition (Holt, 1934)

Three Poems (Baker Library, Dartmouth College, 1935)

The Gold Hesperidee (Bibliophile Press, 1935)

From Snow to Snow (Holt, 1936)

A Further Range (Holt, 1936; Cape, 1937)

Collected Poems of Robert Frost (Holt, 1939; Longmans,

Green, 1939) A Witness Tree (Holt, 1942; Cape, 1943)

Come In, and Other Poems (1943)

Steeple Bush (Holt, 1947)

Complete Poems of Robert Frost, 1949 (Holt, 1949;

Cape, 1951) Hard Not To Be King (House of Books, 1951)

Aforesaid (Holt, 1954)

A Remembrance Collection of New Poems (Holt, 1959)

You Come Too (Holt, 1959; Bodley Head, 1964)

In the Clearing (Holt Rinehart & Winston, 1962)

The Poetry of Robert Frost (New York, 1969)

A Further Range (published as Further Range in 1926, as

New Poems by Holt, 1936; Cape, 1937) What Fifty Said

Fire And Ice

A Drumlin Woodchuck

Plays

A Way Out: A One Act Play (Harbor Press, 1929)

The Cows in the Corn: A One Act Irish Play in Rhyme

(Slide Mountain Press, 1929) A Masque of Reason (Holt, 1945)

A Masque of Mercy (Holt, 1947)

Prose books

The Letters of Robert Frost to Louis Untermeyer (Holt, Rinehart & Winston, 1963; Cape, 1964)

Robert Frost and John Bartlett: The Record of a Friendship,

by Margaret Bartlett Anderson (Holt, Rinehart & Winston, 1963)

Selected Letters of Robert Frost (Holt, Rinehart & Winston, 1964)

Interviews with Robert Frost (Holt, Rinehart & Winston,

1966; Cape, 1967) Family Letters of Robert and Elinor Frost (State University

of New York Press, 1972)

Robert Frost and Sidney Cox: Forty Years of Friendship

(University Press of New England, 1981) The Notebooks of Robert Frost, edited by Robert Faggen

(Harvard University Press, January 2007)

Letters

The Letters of Robert Frost, Volume 1, 18861921, edited by Donald Sheehy, Mark Richardson, and Robert Faggen (Harvard University Press; 2014); 811 pages; first volume

of the scholarly edition of the poet's correspondence, including many previously unpublished letters.

Omnibus volumes

Collected Poems, Prose and Plays (Richard Poirier, ed.) (Library of America, 1995) ISBN 978-1-883011- 06-2.

Spoken word

Robert Frost Reads His Poetry, Caedmon Records, 1957, TC1060

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PopularPoems

The Road Not Taken

Fire and Ice

Acquainted with the Night

A Question

A Soldier

A Time to Talk

Asking for Roses

Stopping by Woods on a Snowy Evening

Nothing Gold Can Stay

A Late Walk

A Minor Bird

A Boundless Moment

A Prayer in Spring

A Brook In The City

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Two roads diverged in a yellow wood,And sorry I could not travel bothAnd be one traveler, long I stoodAnd looked down one as far as I couldTo where it bent in the undergrowth;

Then took the other, as just as fair,And having perhaps the better claimBecause it was grassy and wanted wear,Though as for that the passing thereHad worn them really about the same,

And both that morning equally layIn leaves no step had trodden black.Oh, I kept the first for another day! Yet knowing how way leads on to wayI doubted if I should ever come back.

I shall be telling this with a sighSomewhere ages and ages hence:Two roads diverged in a wood, and I,I took the one less traveled by,And that has made all the difference.

The Road Not Taken

Some say the world will end in fire,Some say in ice.From what I've tasted of desireI hold with those who favor fire.But if it had to perish twice,I think I know enough of hateTo say that for destruction iceIs also greatAnd would suffice.

I have been one acquainted with the night.I have walked out in rain -- and back in rain.I have outwalked the furthest city light.

I have looked down the saddest city lane.I have passed by the watchman on his beatAnd dropped my eyes, unwilling to explain.

I have stood still and stopped the sound of feetWhen far away an interrupted cryCame over houses from another street,

But not to call me back or say good-bye;And further still at an unearthly height,A luminary clock against the sky

Proclaimed the time was neither wrong nor right.I have been one acquainted with the night.

Fire and Ice

Acquainted with the Night

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A voice said, Look me in the starsAnd tell me truly, men of earth,If all the soul-and-body scarsWere not too much to pay for birth.

He is that fallen lance that lies as hurled,That lies unlifted now, come dew, come rust,But still lies pointed as it plowed the dust.If we who sight along it round the world,See nothing worthy to have been its mark,It is because like men we look too near,Forgetting that as fitted to the sphere,Our missiles always make too short an arc.They fall, they rip the grass, they intersectThe curve of earth, and striking, break their own;They make us cringe for metal-point on stone.But this we know, the obstacle that checkedAnd tripped the body, shot the spirit onFurther than target ever showed or shone.

A Question

A Soldier

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When a friend calls to me from the road And slows his horse to a meaning walk, I don't stand still and look around On all the hills I haven't hoed, And shout from where I am, What is it? No, not as there is a time to talk. I thrust my hoe in the mellow ground, Blade-end up and five feet tall, And plod: I go up to the stone wall For a friendly visit.

A house that lacks, seemingly, mistress and master, With doors that none but the wind ever closes, Its floor all littered with glass and with plaster; It stands in a garden of old-fashioned roses.

I pass by that way in the gloaming with Mary; 'I wonder,' I say, 'who the owner of those is.' 'Oh, no one you know,' she answers me airy, 'But one we must ask if we want any roses.'

So we must join hands in the dew coming coldly There in the hush of the wood that reposes, And turn and go up to the open door boldly, And knock to the echoes as beggars for roses.

'Pray, are you within there, Mistress Who-were-you?' 'Tis Mary that speaks and our errand discloses. 'Pray, are you within there? Bestir you, bestir you! 'Tis summer again; there's two come for roses.

'A word with you, that of the singer recalling-- Old Herrick: a saying that every maid knows is A flower unplucked is but left to the falling, And nothing is gained by not gathering roses.'

We do not loosen our hands' intertwining (Not caring so very much what she supposes), There when she comes on us mistily shining And grants us by silence the boon of her roses.

A Time to Talk

Asking for Roses

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Whose woods these are I think I know.His house is in the village, though; He will not see me stopping hereTo watch his woods fill up with snow.

My little horse must think it queerTo stop without a farmhouse nearBetween the woods and frozen lakeThe darkest evening of the year.

He gives his harness bells a shakeTo ask if there is some mistake.The only other sound's the sweepOf easy wind and downy flake.

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.

Stopping by Woodson a Snowy Evening

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Nature's first green is gold,Her hardest hue to hold.Her early leaf's a flower;But only so an hour.Then leaf subsides to leaf,So Eden sank to grief,So dawn goes down to dayNothing gold can stay.

Nothing Gold Can Stay

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When I go up through the mowing field,The headless aftermath,Smooth-laid like thatch with the heavy dew,Half closes the garden path.

And when I come to the garden ground,The whir of sober birdsUp from the tangle of withered weedsIs sadder than any words

A tree beside the wall stands bare,But a leaf that lingered brown,Disturbed, I doubt not, by my thought,Comes softly rattling down.

I end not far from my going forthBy picking the faded blueOf the last remaining aster flowerTo carry again to you.

A Late Walk

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I have wished a bird would fly away,And not sing by my house all day;

Have clapped my hands at him from the doorWhen it seemed as if I could bear no more.

The fault must partly have been in me.The bird was not to blame for his key.

And of course there must be something wrongIn wanting to silence any song.

A Minor Bird

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He halted in the wind, and - what was thatFar in the maples, pale, but not a ghost? He stood there bringing March against his thought,And yet too ready to believe the most.

'Oh, that's the Paradise-in-bloom,' I said; And truly it was fair enough for flowershad we but in us to assume in marchSuch white luxuriance of May for ours.

We stood a moment so in a strange world,Myself as one his own pretense deceives; And then I said the truth (and we moved on).A young beech clinging to its last year's leaves.

A Boundless Moment

Oh, give us pleasure in the flowers to-day; And give us not to think so far away As the uncertain harvest; keep us here All simply in the springing of the year.

Oh, give us pleasure in the orchard white,Like nothing else by day, like ghosts by night; And make us happy in the happy bees, The swarm dilating round the perfect trees.

And make us happy in the darting bird That suddenly above the bees is heard,The meteor that thrusts in with needle bill, And off a blossom in mid air stands still.

For this is love and nothing else is love, The which it is reserved for God above To sanctify to what far ends He will,But which it only needs that we fulfil.

A Prayer in Spring

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The farmhouse lingers, though averse to squareWith the new city street it has to wearA number in. But what about the brookThat held the house as in an elbow-crook?I ask as one who knew the brook, its strengthAnd impulse, having dipped a finger lengthAnd made it leap my knuckle, having tossedA flower to try its currents where they crossed.The meadow grass could be cemented downFrom growing under pavements of a town;The apple trees be sent to hearth-stone flame.Is water wood to serve a brook the same?How else dispose of an immortal forceNo longer needed? Staunch it at its sourceWith cinder loads dumped down?The brook was thrownDeep in a sewer dungeon under stoneIn fetid darkness still to live and run --And all for nothing it had ever doneExcept forget to go in fear perhaps.No one would know except for ancient mapsThat such a brook ran water. But I wonderIf from its being kept forever under,The thoughts may not have risen that so keepThis new-built city from both work and sleep.

A Brook In The City

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Robert Lee Frost (March 26, 1874 January 29, 1963)

Poetry is what gets lost in translation.

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Robert Frost Collection of poemscopyright(c) 2014, Hong Yeong-in, All rights reserved

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Hone Yeong-in

010 4921 1782

hongyi94@naver.com

Robert Frost Collection of Poems

From one of the most brilliant and widely read of all American poets, a generous selection of lyrics, dramatic monologues, and narrative poems-all of them steeped in the wayward and isolated beauty of Frosts native New England. Includes his classics Fire and Ice, Birches, and The Road Not Taken, as well as other famous poem.