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The title poem, approximately fourteen pages long, is a “rambling tribute” to Frost’s favorite state and “is starred and dotted with scientific numerals in the manner of the most profound treatise.” Thus, a footnote at the end of a line of poetry will refer the reader to another poem seemingly inserted to merely reinforce the text of “New Hampshire.” Some of these poems are in the form of epigrams, which appear for the first time in Frost’s work.“Fire and Ice,” for example, one of the better known epigrams, speculates on the means by which the world will end. Mc Bride Dabbs, most perfect lyric, “Stopping by Woods on a Snowy Evening,” is also included in this collection; conveying “the insistent whisper of death at the heart of life,” the poem portrays a speaker who stops his sleigh in the midst of a snowy woods only to be called from the inviting gloom by the recollection of practical duties.
Reviewing Wilbert Snow noted a few poems “which have a right to stand with the best things he has written”: “Come In,” “The Silken Tent,” and “Carpe Diem” especially.
Yet Snow went on: “Some of the poems here are little more than rhymed fancies; others lack the bullet-like unity of structure to be found in One wrote, “Although this reviewer considers Robert Frost to be the foremost contemporary U. poet, he regretfully must state that most of the poems in this new volume are disappointing. [They] often are closer to jingles than to the memorable poetry we associate with his name.” Another maintained that “the bulk of the book consists of poems of ‘philosophic talk.’ Whether you like them or not depends mostly on whether you share the ‘philosophy.’” Indeed, many readers do share Frost’s philosophy, and still others who do not nevertheless continue to find delight and significance in his large body of poetry. Kennedy delivered a speech at the dedication of the Robert Frost Library in Amherst, Massachusetts.
Included here is “Two Tramps in Mud Time,” which opens with the story of two itinerant lumbermen who offer to cut the speaker’s wood for pay; the poem then develops into a sermon on the relationship between work and play, vocation and avocation, preaching the necessity to unite them.
Of the entire volume, William Rose Benét wrote, “It is better worth reading than nine-tenths of the books that will come your way this year.
which Pound said “has the tang of the New Hampshire woods, and it has just this utter sincerity.
It is not post-Miltonic or post-Swinburnian or post Kiplonian.A comparison is set up between the brook and the poem’s speaker who trusts himself to go by “contraries”; further rebellious elements exemplified by the brook give expression to an eccentric individualism, Frost’s stoic theme of resistance and self-realization.Reviewing the collection in the Babette Deutsch wrote: “The courage that is bred by a dark sense of Fate, the tenderness that broods over mankind in all its blindness and absurdity, the vision that comes to rest as fully on kitchen smoke and lapsing snow as on mountains and stars—these are his, and in his seemingly casual poetry, he quietly makes them ours.” which earned Frost another Pulitzer Prize and was a Book-of-the-Month Club selection, contains two groups of poems subtitled “Taken Doubly” and “Taken Singly.” In the first, and more interesting, of these groups, the poems are somewhat didactic, though there are humorous and satiric pieces as well.Continuing to write about New England, he had two books published, and in the years before his death he came to be considered the unofficial poet laureate of the United States.On his 75th birthday, the US Senate passed a resolution in his honor which said, “His poems have helped to guide American thought and humor and wisdom, setting forth to our minds a reliable representation of ourselves and of all men.” In 1955, the State of Vermont named a mountain after him in Ripton, the town of his legal residence; and at the presidential inauguration of John F.During this time, Frost sporadically attended Dartmouth and Harvard and earned a living teaching school and, later, working a farm in Derry, New Hampshire.But in 1912, discouraged by American magazines’ constant rejection of his work, he took his family to England, where he found more professional success.Frost himself said of this poem that it is the kind he’d like to print on one page followed with “forty pages of footnotes.” Frost’s fifth book of poems, is divided into six sections, one of which is taken up entirely by the title poem.This poem refers to a brook which perversely flows west instead of east to the Atlantic like all other brooks.This man has the good sense to speak naturally and to paint the thing, the thing as he sees it.” Amy Lowell reviewed and she, too, sang Frost’s praises: “He writes in classic metres in a way to set the teeth of all the poets of the older schools on edge; and he writes in classic metres, and uses inversions and cliches whenever he pleases, those devices so abhorred by the newest generation.He goes his own way, regardless of anyone else’s rules, and the result is a book of unusual power and sincerity.” In these first two volumes, Frost introduced not only his affection for New England themes and his unique blend of traditional meters and colloquialism, but also his use of dramatic monologues and dialogues.