Robert Frost revitalized American poetry by deliberately avoiding the prevalent modernist style of his time. He crafted verses that celebrated nature and rural life with a traditional yet intricate approach, captivating a broad audience. His work stood as a testament to the richness of simplicity, wrapped in complex poetic forms.

Early Life

Born in 1874 in San Francisco, Robert Frost’s early life unfolded far from the New England setting he would famously immortalize. His father, William Prescott Frost, Jr., originally from Lawrence, Massachusetts, was a Harvard graduate who sought excitement on the West Coast through journalism or law. Frost spent his formative years in San Francisco until his father’s passing in 1886 prompted the family’s return to New England.

Frost’s mother worked as a schoolteacher in Salem, New Hampshire, to sustain the family. Though not particularly successful in her role, her dedication left a mark on Frost, who excelled academically. He shared the honor of covaledictorian at Lawrence High School with Elinor White, a bright classmate, sparking an early and complex relationship. Elinor's decision to attend college while Frost remained in Lawrence strained their bond, leading to personal turmoil for Frost. Eventually, Elinor abandoned college ambitions, and they married amid familial resistance.

Struggling to find his calling, Frost briefly attended Harvard without completing a degree and later tried his hand at teaching. Despite publishing some poetry locally, financial stability eluded him. His grandfather’s support helped, but Frost's farming pursuits, specifically poultry and egg sales, were unsuccessful. With his grandfather's passing, Frost inherited a small trust and a farm, but true literary passion drove him to England in 1912, where he focused on poetry in Beaconsfield.

Life’s Work

In England, Frost compiled his earlier works and approached publisher David Nutt, who appreciated his poetry and published A Boy’s Will in 1913. This collection, influenced by both youthful dreams and classical literature, garnered mixed reviews. However, a pivotal endorsement from poet Ezra Pound in Poetry magazine significantly bolstered Frost’s reputation, though Frost resisted becoming a Pound disciple.

His second collection, North of Boston (1914), marked a turning point with notable pieces like “The Death of the Hired Man” and “After Apple Picking.” Highly esteemed in New England, the book showcased dramatic monologues from local voices. During this period, Frost developed a deep connection with English poet Edward Thomas, who tragically died in World War I.

With growing recognition as a promising American poet acknowledged by British critics, Frost returned to the United States determined to sustain himself through poetry. Settling in New Hampshire, he forged a supportive relationship with poet Louis Untermeyer and began public readings, initially shy but eventually compelling. His performances, along with teaching stints, provided necessary income.

Balancing financial needs, Frost accepted academic positions at institutions like Amherst and the University of Michigan, securing his family’s livelihood. Such roles, along with book royalties and speaking fees, allowed him the freedom to pursue poetry on his terms.

Frost’s third book, Mountain Interval (1916), featured celebrated poems like “The Road Not Taken.” His work increasingly explored nuanced themes, often presenting choices and oppositions, a hallmark of his evolving style.

Relocating to Vermont, Frost focused on writing, teaching, and benefiting from growing royalties. He formed a lasting bond with the Bread Loaf School of English. His book New Hampshire (1923) included acclaimed poems like “Stopping by Woods on a Snowy Evening” and earned the 1924 Pulitzer Prize, affirming his literary stature.

Frost’s subsequent works, West-Running Brook (1927) and Collected Poems (1930), further solidified his status, the latter earning him another Pulitzer Prize. Despite personal tragedies, including his wife Elinor’s death and family challenges, Frost's poetry continued to gain recognition, with honors like election to the American Academy of Arts and Letters and multiple Pulitzer Prizes.

During his later years, Frost’s domestic life was unconventional. Katherine Morrison became his close confidante and secretary, despite his inappropriate marriage proposal to her. His later works, like A Masque of Reason (1945) and A Masque of Mercy (1947), ventured into theological themes, a departure from his quintessential rural settings.

Although his final collections reflected a decline in poetic quality, Complete Poems (1949) celebrated his extensive contributions. Frost remained a revered figure until his death in 1963, leaving a legacy as America’s cherished poet.

Summary

Robert Frost’s contribution to American poetry in the early 20th century was significant for his adherence to traditional forms amidst the prevailing modernist trends. His widespread popularity never compromised his artistic integrity. Frost’s seemingly simple verse masked intricate poetic structures.

He meticulously crafted his public persona, concealing the complexity and darker themes underlying his poetry. Notably, Lionel Trilling's controversial description of Frost as a "terrifying" poet highlighted the overlooked depth in his work. While Frost drew on Emersonian ideas, his perspective was more somber, evident in poems like “The Most of It” and “Desert Places.” Frost’s lyrics consistently embodied duality, challenging readers to delve deeper into his poetry.

Bibliography

Boroff, Marie. Language and the Poet: Verbal Artistry in Frost, Stevens, and Moore. Chicago: University of Chicago Press, 1979. Boroff provides a unique stylistic analysis of Frost’s poetry, offering technical yet enlightening insights.

Brower, Rueben. The Poetry of Robert Frost: Constellations of Intention. New York: Oxford University Press, 1963. Brower’s close reading illuminates Frost’s complex poetic structures.

Lentricchia, Frank. Robert Frost: Modern Poetics and the Landscape of the Self. Durham, N.C.: Duke University Press, 1973. Lentricchia characterizes Frost as a modernist, though he may exaggerate this aspect.

Lyman, John F. The Pastoral Art of Robert Frost. New Haven, Conn.: Yale University Press, 1963. Lyman emphasizes Frost’s pastoral themes, despite some oversimplifications.

Porier, Richard. Robert Frost: The Work of Knowing. New York: Oxford University Press, 1977. Porier offers a comprehensive discussion, linking Frost’s work to Emerson and other 19th-century writers.

Thompson, Lawrance, and R. H. Winnick. Robert Frost: A Biography. New York: Holt, Rinehart and Winston, 1981. This biography, though sometimes emphasizing Frost’s darker side, remains an essential counterpoint to sentimental views.