Robert frost

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He saw her from the bottom of the stairs Before she saw him. She was starting down, Looking back over her shoulder at some fear. She took a doubtful step and then undid it To raise herself and look again. He spoke Advancing toward her: 'What is it you see From up there always--for I want to know.' She turned and sank upon her skirts at that, And her face changed from terrified to dull. He said to gain time: 'What is it you see,' Mounting until she cowered under him. 'I will find out now--you must tell me, dear.' She, in her place, refused him any help With the least stiffening of her neck and silence. She let him look, sure that he wouldn't see, Blind creature; and awhile he didn't see. But at last he murmured, 'Oh,' and again, 'Oh.' 'What is it--what?' she said. 'Just that I see.' 'You don't,' she challenged. 'Tell me what it is.' 'The wonder is I didn't see at once. I never noticed it from here before. I must be wonted to it--that's the reason. The little graveyard where my people are! So small the window frames the whole of it. Not so much larger than a bedroom, is it? There are three stones of slate and one of marble, Broad-shouldered little slabs there in the sunlight On the sidehill. We haven't to mind those. But I understand: it is not the stones, But the child's mound--' 'Don't, don't, don't, don't,' she cried. She withdrew shrinking from beneath his arm That rested on the bannister, and slid downstairs; And turned on him with such a daunting look, He said twice ov...

When Robert Frost, in his 1930 address “Education by Poetry,” spoke about the importance of being “at home in the metaphor,” he seemed to suggest how infrequently he had felt at home anywhere else. The New England landscape abounds with Frost sites: the Frost Farm, in Derry, New Hampshire, and the Frost Place, in Franconia, New Hampshire; the Robert Frost Stone House, in South Shaftsbury, Vermont, and the Homer Noble Farm, in Ripton, Vermont; a house on verdant Brewster Street in Cambridge, Massachusetts, and one on leafy Sunset Avenue in Amherst, Massachusetts. Add to these two houses in England, where Frost lived from 1912 to 1915 and first found acclaim, along with a cottage in Key West, where he often spent winters, and a white pillared house that once stood in Ann Arbor, Michigan (where Frost lived while he worked at the University of Michigan, in the twenties), but was moved by Henry Ford to Greenfield Village, a part of Ford’s museum complex. It now sits on a cleansed American green, near Edison’s laboratories, the Wright brothers’ bicycle shop, and a courthouse where Lincoln practiced law. Frost’s stone walls, old barns, cellar holes, birches, and brooks—the sedimentary, second-growth New England that, before Frost, had awaited its bard—imply a writer who cared, like Thoreau, only to be “admitted to Nature’s hearth.” But, wherever he went, Frost schemed to buy land or a house or a farm. Frost is sometimes still associated with the old-fashioned comforts of home, bu...

Robert Frost, (born March 26, 1874, San Francisco, Calif., U.S.—died Jan. 29, 1963, Boston, Mass.), U.S. poet. Frost’s family moved to New England early in his life. After stints at Dartmouth College and Harvard University and a difficult period as a teacher and farmer, he moved to England and published his first collections, A Boy’s Will (1913) and North of Boston (1914). At the outbreak of war he returned to New England. He closely observed rural life and in his poetry endowed it with universal, even metaphysical, meaning, using colloquial language, familiar rhythms, and common symbols to express both its pastoral ideals and its dark complexities. His collections include New Hampshire (1923, Pulitzer Prize), Collected Poems (1930, Pulitzer Prize), A Further Range (1936, Pulitzer Prize), and A Witness Tree (1942, Pulitzer Prize). He was unique among American poets of the 20th century in simultaneously achieving wide popularity and deep critical admiration. Many of his poems, including “Stopping by Woods on a Snowy Evening,” “Birches,” “The Death of the Hired Man,” “Dust of Snow,” “Fire and Ice,” and “Home Burial,” are widely anthologized. Related Article Summaries

Robert Frost: “The Road Not Taken” by Katherine… | Poetry Foundation agenda angle-down angle-left angleRight arrow-down arrowRight bars calendar caret-down cart children highlight learningResources list mapMarker openBook p1 pin poetry-magazine print quoteLeft quoteRight slideshow tagAudio tagVideo teens trash-o Robert Frost wrote “ “The Road Not Taken” begins with a dilemma, as many fairytales do. Out walking, the speaker comes to a fork in the road and has to decide which path to follow: Two roads diverged in a yellow wood, And sorry I could not travel both And be one traveler, long I stood And looked down one as far as I could To where it bent in the undergrowth … In his description of the trees, Frost uses one detail—the yellow leaves—and makes it emblematic of the entire forest. Defining the wood with one feature prefigures one of the essential ideas of the poem: the insistence that a single decision can transform a life. The yellow leaves suggest that the poem is set in autumn, perhaps in a section of woods filled mostly with alder or birch trees. The leaves of both turn bright yellow in fall, distinguishing them from maple leaves, which flare red and orange. Both birches and alders are “pioneer species,” the first trees to come back after the land has been stripped bare by logging or forest fires. An inveterate New England farmer and woodsman, Robert Frost would have known these woods were “new”—full of trees that had grown after older ones had been decimated....

• "Into My Own" • "Ghost • "My November Guest" • "Love and a Question" • "A Late Walk • "Stars" • "Storm Fear" • "Wind and Window Flower" • "To the Thawing Wind" • "A Prayer in Spring" • "Flower-gathering" • "Rose Pogonias" • "Asking for Roses" • "Waiting Afield at Dusk" • "In a Vale" • "A Dream Pang" • "In Neglect" • "The Vantage Point" • "Mowing" • "Going for Water" • "Revelation" • "The Trial by Existence" • "In Equal Sacrifice" • "The Tuft of Flowers" • "Spoils of the Dead" • "Pan with Us" • "The Demiurge's Laugh" • "Now Close the Windows" • "A Line-storm Song" • "October" • "My Butterfly • "Reluctance" North of Boston (1914) [ ] • "The Pasture" • " • " • "The Mountain" • "A Hundred Collars" • "Home Burial" • "The Black Cottage" • "Blueberries" • "A Servant to Servants" • " • "The Code" • "The Generations of Men" • "The Housekeeper" • "The Fear" • "The Self-seeker" • "The Wood-pile" • "Good Hours" Mountain Interval (1916) [ ] The following list is compiled from the revised 1920 edition: • • "Christmas Trees" • "An Old Man's Winter Night" • "The Exposed Nest" • "A Patch of Old Snow" • "In the Home Stretch" • "The Telephone" • "Meeting and Passing" • "Hyla Brook" • "The Oven Bird" • "Bond and Free" • • "Pea Brush" • "Putting in the Seed" • "A Time to Talk" • "The Cow in Apple Time" • "An Encounter" • "Range-Finding" • "Cranberries at Noon" • "The Hill Wife" • "The Bonfire" • "A Girl's Garden" • "Locked Out" • "The Last Word of a Blue Bird" • " • "Brown's Descent, or the ...