His epitaph quotes the last line from his poem, "The Lesson for Today" : "I had a lover's 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 most significant collection of Frost's working manuscripts is held by Dartmouth. Robert Frost's personal life was plagued by grief and loss. In when he was 11, his father died of tuberculosis , leaving the family with just eight dollars. Frost's mother died of cancer in In , he had to commit his younger sister Jeanie to a mental hospital, where she died nine years later.
Mental illness apparently ran in Frost's family, as both he and his mother suffered from depression , and his daughter Irma was committed to a mental hospital in Frost's wife, Elinor, also experienced bouts of depression. Elinor and Robert Frost had six children: son Elliot —, died of cholera ; daughter Lesley Frost Ballantine — ; son Carol —, committed suicide ; daughter Irma — ; daughter Marjorie —, died as a result of puerperal fever after childbirth ; and daughter Elinor Bettina died just three days after her birth in Only Lesley and Irma outlived their father.
Frost's wife, who had heart problems throughout her life, developed breast cancer in , and died of heart failure in 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.
Jarrell's notable and influential essays on Frost include the essays "Robert Frost's 'Home Burial' " , which consisted of an extended close reading of that particular poem,  and "To The Laodiceans" 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, falsifications—coming 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. 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 rustic—the 'dark' Frost who was desperate, frightened, and brave—has 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.
Battle of Britain
I'd like to get away from earth awhile And then come back to it and begin over. May no fate willfully misunderstand me And half grant what I wish and snatch me away Not to return. Earth's the right place for love: I don't know where it's likely to go better. I'd like to go by climbing a birch tree, And climb black branches up a snow-white trunk Toward heaven, till the tree could bear no more, But dipped its top and set me down again.
That would be good both going and coming back. One could do worse than be a swinger of birches.
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In , the critic Charles McGrath noted that critical views on Frost's poetry have changed over the years as has his public image. In , 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.
However, they state that Frost's poetry was "less [consciously] literary" and that this was possibly due to the influence of English and Irish writers like Thomas Hardy and W. 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]. An earlier study by the poet James Radcliffe Squires spoke to the distinction of Frost as a poet whose verse soars more for the difficulty and skill by which he attains his final visions, than for the philosophical purity of the visions themselves.
Frost has refused all of these and in the refusal has long seemed less dramatically committed than others But no, he must be seen as dramatically uncommitted to the single solution Insofar as Frost allows to both fact and intuition a bright kingdom, he speaks for many of us. Insofar as he speaks through an amalgam of senses and sure experience so that his poetry seems a nostalgic memory with overtones touching some conceivable future, he speaks better than most of us.
That is to say, as a poet must. The classicist Helen H. Bacon has proposed that Frost's deep knowledge of Greek and Roman classics influenced much of his work. She cites the certain motifs, including that of the tree bent down to earth, as evidence of his "very attentive reading of Bacchae , almost certainly in Greek. She notes that "this sampling of the ways Frost drew on the literature and concepts of the Greek and Roman world at every stage of his life indicates how imbued with it he was.
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In 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. Whipple focused 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.
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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. 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, , Frost was named Poet laureate of Vermont by the state legislature through Joint Resolution R of the Acts of , which also created the position. Frost was nominated for the Nobel Prize in Literature 31 times. From Wikipedia, the free encyclopedia.
American poet. This article is about the poet. For other people with the same name, see Robert Frost disambiguation. From "Birches" . Biography portal. The Poetry Foundation. Retrieved 18 February Retrieved Jean C. He aimed simply at writing 'a biographical commentary' on his uncle's works, though he also. An unknown error has occurred. Please click the button below to reload the page. If the problem persists, please try again in a little while.
William Blake - Poems, Quotes & Life - Biography
No cover image. Read preview. Excerpt Wordsworth once desribed his poet's soul as A Rock with torrents roaring, with the clouds Familiar, and a favourite of the stars. In the process, Ashbery has developed a radical, new kind of poetry, marked by ambiguous, shifting pronouns, a collage of different voices and styles, and a tantalizing elusiveness in which stable identity and closure are continually deferred. But it would seem the poet doth protest too much. The result is a treasure trove for scholars, fans and casual readers alike.