Poems List

I’m going out to clean the pasture spring; I’ll only stop to rake the leaves away (And wait to watch the water clear, I may): I shan’t be gone long.—You come too.

The Pasture [1914], st. 1

3

Ah, when to the heart of man Was it ever less than a treason To go with the drift of things, To yield with a grace to reason, And bow and accept the end Of a love or a season?

Reluctance [1913], st. 4

2

They would not find me changed from him they knew— Only more sure of all I thought was true.

Into My Own [1913], st. 4

4
No tears in the writer, no tears in the reader.
6
You can be a little ungrammatical if you come from the right part of the country.
6

Two Look at Two

Two Look at Two
Love and forgetting might have carried them
A little further up the mountain side
With night so near, but not much further up.
They must have halted soon in any case
With thoughts of a path back, how rough it was
With rock and washout, and unsafe in darkness;
When they were halted by a tumbled wall
With barbed-wire binding. They stood facing this,
Spending what onward impulse they still had
In One last look the way they must not go,
On up the failing path, where, if a stone
Or earthslide moved at night, it moved itself;
No footstep moved it. 'This is all,' they sighed,
Good-night to woods.' But not so; there was more.
A doe from round a spruce stood looking at them
Across the wall, as near the wall as they.
She saw them in their field, they her in hers.
The difficulty of seeing what stood still,
Like some up-ended boulder split in two,
Was in her clouded eyes; they saw no fear there.
She seemed to think that two thus they were safe.
Then, as if they were something that, though strange,
She could not trouble her mind with too long,
She sighed and passed unscared along the wall.
'This, then, is all. What more is there to ask?'
But no, not yet. A snort to bid them wait.
A buck from round the spruce stood looking at them
Across the wall as near the wall as they.
This was an antlered buck of lusty nostril,
Not the same doe come back into her place.
He viewed them quizzically with jerks of head,
As if to ask, 'Why don't you make some motion?
Or give some sign of life? Because you can't.
I doubt if you're as living as you look."
Thus till he had them almost feeling dared
To stretch a proffering hand -- and a spell-breaking.
Then he too passed unscared along the wall.
Two had seen two, whichever side you spoke from.
'This must be all.' It was all. Still they stood,
A great wave from it going over them,
As if the earth in one unlooked-for favour
Had made them certain earth returned their love.
424

To The Thawing Wind

To The Thawing Wind
Come with rain. O loud Southwester! Bring the singer, bring the nester; Give the
buried flower a dream; make the settled snowbank steam; Find the brown beneath the
white; But whate'er you do tonight, bath my window, make it flow, Melt it as the ice
will go; Melt the glass and leave the sticks Like a hermit's crucifix; Burst into my
narrow stall; Swing the picture on the wall; Run the rattling pages o'er; Scatter poems
on the floor; Turn the poet out of door.
495

To E.T.

To E.T.
I slumbered with your poems on my breast
Spread open as I dropped them half-read through
Like dove wings on a figure on a tomb
To see, if in a dream they brought of you,
I might not have the chance I missed in life
Through some delay, and call you to your face
First soldier, and then poet, and then both,
Who died a soldier-poet of your race.
I meant, you meant, that nothing should remain
Unsaid between us, brother, and this remained--
And one thing more that was not then to say:
The Victory for what it lost and gained.
You went to meet the shell's embrace of fire
On Vimy Ridge; and when you fell that day
The war seemed over more for you than me,
But now for me than you--the other way.
How over, though, for even me who knew
The foe thrust back unsafe beyond the Rhine,
If I was not to speak of it to you
And see you pleased once more with words of mine?
494

They Were Welcome To Their Belief

They Were Welcome To Their Belief
Grief may have thought it was grief.
Care may have thought it was care.
They were welcome to their belief,
The overimportant pair.
No, it took all the snows that clung
To the low roof over his bed,
Beginning when he was young,
To induce the one snow on his head.
But whenever the roof camme white
The head in the dark below
Was a shade less the color of night,
A shade more the color of snow.
Grief may have thought it was grief.
Care may have thought it was care.
But neither one was the thief
Of his raven color of hair.
448

The Vantage Point

The Vantage Point
If tires of trees I seek again mankind, Well I know where to hie me--in the dawn, To a
slope where the cattle keep the lawn. There amid loggin juniper reclined, Myself
unseen, I see in white defined Far off the homes of men, and farther still, The graves
of men on an opposing hill, Living or dead, whichever are to mind. And if by noon I
have too much of these, I have but to turn on my arm, and lo, The sun-burned hillside
sets my face aglow, My breathing shakes the bluet like a breeze, I smell the earth, I
smell the bruisèd plant, I look into the crater of the ant.
490

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Identification and basic context

Robert Frost is widely recognized as an American poet, though he also held Canadian citizenship and spent significant time in England. His birth and death occurred in the United States. He was a prominent figure in 20th-century American literature, known for his distinctive voice and his engagement with themes of rural life and nature.

Childhood and education

Frost's early life was marked by personal loss and a move from California to Massachusetts. He attended Dartmouth College briefly and then Lawrence High School, where he began writing poetry. His formal education was somewhat interrupted, but he was a voracious reader and largely self-taught, developing a deep appreciation for classical literature and the natural world. Early influences included Romantic poets like Wordsworth and Coleridge, as well as the philosophical underpinnings of Transcendentalism.

Literary trajectory

Frost began writing poetry in his teens and early twenties, with his first poems published in magazines like the *Independent* and the *New England Magazine*. His initial attempts to establish himself as a poet in America were met with limited success, leading him to spend several years in England. It was during his time in England that his first two collections, *A Boy's Will* (1913) and *North of Boston* (1914), were published and received critical acclaim. Upon his return to the United States, his reputation grew, and he became a celebrated figure, publishing numerous collections throughout his career.

Works, style, and literary characteristics

Major works include *The Road Not Taken* (1916), *Mountain Interval* (1916), *New Hampshire* (1923), *West-Running Brook* (1929), and *A Further Range* (1936). Frost's poetry often focuses on the New England landscape, exploring themes of nature, isolation, the human condition, choices and their consequences, and the tension between individual freedom and societal constraints. He is renowned for his mastery of traditional forms, particularly blank verse and the sonnet, but he infused these forms with a modern sensibility and a conversational, often colloquial, language. His style is characterized by its apparent simplicity, its underlying philosophical depth, and its use of vivid imagery drawn from the natural world. His poetic voice is often that of a wise, reflective observer.

Cultural and historical context

Frost lived and wrote during a period of significant social and technological change in America, including the Progressive Era, World War I, the Great Depression, and World War II. While his work often evokes a timeless, rural setting, it is also subtly responsive to the modern world. He was a contemporary of other major American modernist poets, but his style remained distinct, often seen as more traditional in form yet modern in its psychological exploration. He belonged to no specific literary movement but was influential in bringing a more accessible, yet profound, voice back into American poetry.

Personal life

Frost's personal life was marked by tragedy, including the deaths of children and his wife, Elinor. These experiences undoubtedly informed the elegiac and somber tones present in some of his work. He had a complex relationship with his family and struggled with financial insecurity early in his career. Despite his academic associations later in life, he maintained a strong connection to the land and to the rural communities that inspired him.

Recognition and reception

Robert Frost received immense recognition during his lifetime. He won the Pulitzer Prize for Poetry four times and was appointed the Poet Laureate of Vermont. His work was widely read and admired by both the general public and the academic community. He was invited to read his poetry at presidential inaugurations, solidifying his status as a national treasure.

Influences and legacy

Frost was influenced by poets like William Wordsworth and the New England Transcendentalists. His legacy lies in his ability to connect profound philosophical insights with accessible, natural language and imagery. He profoundly influenced subsequent generations of American poets by demonstrating the power of traditional forms to convey modern sensibilities and by re-establishing a vital link between poetry and the American landscape. His work remains widely taught and studied.

Interpretation and critical analysis

Interpretations of Frost's work often highlight the dual nature of his poetry: its surface simplicity masking deeper philosophical complexities. Critics have explored themes of existential choice, the nature of reality, the relationship between humanity and nature, and the psychological dimensions of loneliness and doubt. His poem "The Road Not Taken" is frequently analyzed for its ambiguity and its commentary on the construction of personal narratives.

Curiosities and lesser-known aspects

Despite his later fame, Frost faced significant rejections early in his career. He worked as a teacher and a farmer before finding widespread success. His strong opinions and sometimes cantankerous personality are also noted aspects of his character. He was known for his intellectual curiosity and his engagement with a wide range of subjects beyond poetry.

Death and memory

Robert Frost passed away in Boston, Massachusetts. His death was mourned as the loss of a major American literary figure. His home in Ripton, Vermont, has been preserved as a museum and educational center, and his works continue to be read, studied, and celebrated for their enduring wisdom and artistry.