Robert Frost Frost, Robert (Vol. 10) - Essay


(Contemporary Literary Criticism)

Frost, Robert 1874–1963

An American poet, Frost described poetry as "a little voyage of discovery." The setting for his poems is predominantly the rural landscapes of New England, his poetic language is the language of the common man. His work has often been criticized for its uneven quality, as well as its simplistic philosophy and form. However, Frost's best poems explore fundamental questions of existence, depicting with chilling matter-of-factness the loneliness of the individual confronted with an indifferent universe. (See also CLC, Vols. 1, 3, 4, 9.)

Yvor Winters

(Contemporary Literary Criticism)

Frost has been praised as a classical poet, but he is not classical in any sense which I can understand. Like many of his contemporaries, he is an Emersonian Romantic, although with certain mutings and modifications …, and he has labeled himself as such with a good deal of care. He is a poet of the minor theme, the casual approach, and the discreetly eccentric attitude. When a reader calls Frost a classical poet, he probably means that Frost strikes him as a "natural" poet, a poet who somehow resembles himself and his neighbors; but this is merely another way of saying that the reader feels a kinship to him and likes him easily. Classical literature is said to judge human experience with respect to the norm; but it does so with respect to the norm of what humanity ought to be, not with respect to the norm of what it happens to be in a particular place and time. The human average has never been admirable …, and that is why literature which glorifies the average is sentimental rather than classical.

Frost writes of rural subjects, and the American reader of our time has an affection for rural subjects which is partly the product of the Romantic sentimentalization of "nature," but which is partly also a nostalgic looking back to the rural life which predominated in this nation a generation or two ago; the rural life is somehow regarded as the truly American life. I have no objection to the poet's employing rural settings; but we should remember that it is the poet's business to evaluate human experience, and the rural setting is no more valuable for this purpose than any other or than no particular setting, and one could argue with some plausibility that an exclusive concentration on it may be limiting.

Frost early began his endeavor to make his style approximate as closely as possible the style of conversation, and this endeavor has added to his reputation: it has helped to make him seem "natural." But poetry is not conversation, and I see no reason why poetry should be called upon to imitate conversation. Conversation is the most careless and formless of human utterance; it is spontaneous and unrevised, and its vocabulary is commonly limited. Poetry is the most difficult form of human utterance; we revise poems carefully in order to make them more nearly perfect. The two forms of expression are extremes, they are not close to each other. (pp. 58-9)

Frost has said that Emerson is his favorite American poet, and he himself appears to be something of an Emersonian…. In Frost, [however,] we find a disciple without Emerson's religious conviction: Frost believes in the rightness of impulse, but does not discuss the pantheistic doctrine which would give authority to impulse; as a result of his belief in impulse, he is of necessity a relativist, but his relativism, apparently since it derives from no intense religious conviction, has resulted mainly in ill-natured eccentricity and in increasing melancholy. He is an Emersonian who has become sceptical and uncertain without having reformed; and the scepticism and uncertainty do not appear to have been so much the result of thought as the result of the impact upon his sensibility of conflicting notions of his own era—they appear to be the result of his having taken the easy way and having drifted with the various currents of his time. (pp. 60-1)

[Certain] poems throw more light on Frost as a whole, perhaps, than do any others, and they may serve as an introduction to his work. I have in mind especially three poems from Mountain Interval: the introductory piece entitled "The Road Not Taken," the post-scriptive piece entitled "The Sound of the Trees," and the lyrical narrative called "The Hill Wife."… These poems all have a single theme: the whimsical, accidental, and incomprehensible nature of the formative decision; and I should like to point out that if one takes this view of the formative decision, one has cut oneself off from understanding most of human experience, for in these terms there is nothing to be understood—one can write of human experience with sentimental approval or with sentimental melancholy, but with little else.

"The Road Not Taken," for example, is the poem of a man whom one might fairly call a spiritual drifter; and a spiritual drifter is unlikely to have either the intelligence or the energy to become a major poet. Yet the poem has definite virtues, and these should not be overlooked. In the first place, spiritual drifters exist, they are real; and although their decisions may not be comprehensible, their predicament is comprehensible. The poem renders the experience of such a person, and renders the uncertain melancholy of his plight. Had Frost been a more intelligent man, he might have seen that the plight of the spiritual drifter was not inevitable, he might have judged it in the light of a more comprehensive wisdom. Had he done this, he might have written a greater poem. But his poem is good as far as it goes; the trouble is that it does not go far enough, it is incomplete, and it puts on the reader a burden of critical intelligence which ought to be borne by the poet. (p. 61)

["The Sound of the Trees"] has the same quality of uncertainty and incomprehension as "The Road Not Taken"; it is written with about the same degree of success, with about the same charm, and with about the same quality of vague melancholy. In considering either of these poems, especially if one compares them even to minor works by sixteenth- and seventeenth-century masters, one will observe not only the limitations of intelligence which I have mentioned, but a quality, slight though it may be, of imprecision in the rendering of the detail and of the total attitude, which is the result of the limitations…. [Frost] is mistaking whimsical impulse for moral choice, and the blunder obscures his understanding and even leaves his mood uncertain with regard to the value of the whole business. He is vaguely afraid that he may be neither wrong nor right. (p. 63)

["The Hill Wife"] has an eerie quality, like that of dream or of neurosis, but it has little else…. And one might mention also the poem from A Witness Tree entitled "A Serious Step Lightly Taken": the serious step in question is merely the buying of a farm; but the title is characteristic, and the title implies approval and not disapproval—it implies that serious steps ought to be lightly taken. But if serious steps are to be lightly taken, then poetry, at least, is impoverished, and the poet can have very little to say. Most of the world's great poetry has had to do with serious steps seriously taken, and when the seriousness goes from life, it goes from the poetry. (pp. 63-4)

[In "The Bear" Frost] is satirizing the intelligent man from the point of view of the unintelligent; and the more often one reads the poem, the more obvious this fact becomes, and the more trivial the poem appears. (pp. 64-5)

The idea in ["To a Thinker"] is the same as that in "The Bear," but is even more plainly stated; we have the commonplace Romantic distrust of reason and trust in instinct…. The poem is badly written, but one couplet is momentarily amusing:

I own I never really warmed
To the reformer or reformed.

Yet when we examine it more carefully, there is something almost contemptible about it. There are, of course, reformers and reformers, and many of them have been ludicrous or worse. Frost is invoking the image of the soap-box politician or the street-corner preacher in order to discredit reason. But the word reform can be best evaluated if one separates the syllables for a moment. To reform means to re-form. And the progress of civilization has been a process of re-forming human nature…. Frost endeavors to gain his point by sleight-of-hand; he endeavors to obscure the difference between St. Thomas Aquinas and Pussyfoot Johnson. (p. 65)

["The Egg and the Machine" presents] several familiar Romantic attitudes: resentment at being unable to achieve the absolute privacy which Frost names as a primary desideratum in "Build Soil," the sentimental regard...

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Marion Montgomery

(Contemporary Literary Criticism)

The casual reader of Frost's poetry is likely to think of Frost as a nature poet in the tradition of Wordsworth. In a sense, nature is his subject, but to Frost it is never an impulse from a vernal wood. His best poetry is concerned with the drama of man in nature, whereas Wordsworth is generally best when emotionally displaying the panorama of the natural world. "I guess I'm not a nature poet," Frost said … in the fall of 1952. "I have only written two poems without a human being in them." (p. 138)

[We] may recall the epitaph Frost proposes for himself in "The Lesson for Today": "I had a lover's quarrel with the world." This lover's quarrel is Frost's poetic subject, and throughout his poetry...

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Hayden Carruth

(Contemporary Literary Criticism)

What one finds upon reading [Frost's] Collected Poems is a relatively small number of first-rate pieces and a much larger number of unsuccessful ones. I don't mean the failures are "bad poems"; a few are, but scores and scores of them are poems that almost make it—almost but not quite. Usually they contain fine descriptions, pointed imagery, apt and characteristic language; but then at some point they turn talky, insistent, too literal, as if Frost were trying to coerce the meaning from his own poetic materials. And in fact I think this is exactly what he was trying to do. Call it vanity, arrogance, or whatever: Frost came to distrust his own imagination, and believed he could make his poems do and say...

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George Monteiro

(Contemporary Literary Criticism)

Despite Frost's expressions of interest in Emily Dickinson, his critics have said nothing about the ways in which his reactions to Dickinson's poetry might have contributed to the shape of his own early poetry…. [There are numerous] affinities and interrelated differences discernible in Frost's early poems, principally that handful published between 1894 and 1901, and the first Dickinson poems published in the 1890s….

In the spring of 1892, during his final months at Lawrence High School, Frost discovered the poetry of Emily Dickinson, just out in two small volumes, Poems (1890) and Poems, Second Series (1891). He was immediately taken with her, discovering in her poetry the voice...

(The entire section is 924 words.)