Frost, Robert 1874–1963
Pulitzer Prize-winning American poet, Frost celebrated especially the rural aspects of New England.
Besides the Frost that everybody knows there is one whom no one even talks about. Everybody knows what the regular Frost is: the one living poet who has written good poems that ordinary readers like without any trouble and understand without any trouble: the conservative editorialist and self-made apothegm-joiner, full of dry wisdom and free, complacent, Yankee enterprise…. It is this "easy" side of Frost that is most attractive to academic readers, who are eager to canonize any modern poet who condemns in example the modern poetry which they condemn in precept; and it is this side that has helped to get him neglected or depreciated by intellectuals—the reader of Eliot or Auden usually dismisses Frost as something inconsequentially good that he knew about long ago. Ordinary readers think Frost the greatest poet alive, and love some of his best poems almost as much as they love some of his worst ones. He seems to them a sensible, tender, humorous poet who knows all about trees and farms and folks in New England, and still has managed to get an individualistic, fairly optimistic, thoroughly American philosophy out of what he knows; there's something reassuring about his poetry, they feel—almost like prose. Certainly there's nothing hard or odd or gloomy about it.
These views of Frost, it seems to me, come either from not knowing his poems well enough or from knowing the wrong poems too well. Frost's best-known poems, with a few exceptions, are not his best poems at all;… [one] can make a list of ten or twelve of Frost's best poems that is likely to seem to anybody too new to be true. Here it is: "The Witch of Coös," "Neither Out Far Nor In Deep," "Directive," "Design," "A Servant to Servants," "Provide Provide," "Home-Burial," "Acquainted with the Night," "The Pauper Witch of Grafton" (mainly for its ending), "An Old Man's Winter Night," "The Gift Outright," "After Apple-Picking," "Desert Places," and "The Fear."… [So] far from being obvious, optimistic, orthodox, many of these poems are extraordinarily subtle and strange, poems which express an attitude that, at its most extreme, makes pessimism seem a hopeful evasion; they begin with a flat and terrible reproduction of the evil in the world and end by saying: It's so; and there's nothing you can do about it; and if there were, would you ever do it? The limits which existence approaches and falls back from have seldom been stated with such bare composure.
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. (From "The Other Frost," pp. 26-33)
Frost is that rare thing, a complete or representative poet, and not one of the brilliant partial poets who do justice, far more than justice, to a portion of reality, and leave the rest of things forlorn. When you know Frost's poems you know surprisingly well how the world seemed to one man, and what it was to seem that way: the great Gestalt that each of us makes from himself and all that isn't himself is very clear, very complicated, very contradictory in the poetry. The grimness and awfulness and untouchable sadness of things, both in the world and in the self, have justice done to them in the poems, but no more justice than is done to the tenderness and love and delight; and everything in between is represented somewhere too, some things willingly and often and other things only as much—in Marianne Moore's delicate phrase—"as one's natural reticence will allow." If some of the poems come out of a cynical commonsense that is only...
(The entire section contains 2677 words.)
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- Critical Essays