Robert Lee Frost was an American poet. His work was initially published in England before it was published in America. He is highly regarded for his realistic depictions of rural life and his command of American colloquial speech. His work frequently employed settings from rural life in New England in the early twentieth century, using them to examine complex social and philosophical themes. One of the most popular and critically respected American poets of the twentieth century, Frost was honored frequently during his lifetime, receiving four Pulitzer Prizes for Poetry. He became one of America's rare "public literary figures, almost an artistic institution." He was awarded the Congressional Gold Medal in 1960 for his poetic works. On July 22, 1961, Frost was named poet laureate of Vermont.
“In three words I can sum up everything I've learned about life — It goes on.”
As quoted in The Harper Book of Quotations (1993) edited by Robert I. Fitzhenry, p. 261
General sources
Variant: In three words I can sum up everything I've learned about life: it goes on.
Variant: You are educated when you have the ability to hear almost anything without losing your temper, or your self-confidence.
Variant: Half the world is composed of people who have something to say and can't, and the other half who have nothing to say and keep on saying it.
“Love is an irresistible desire to be irresistibly desired.”
As quoted in a review of A Swinger of Birches (1957) by Sydney Cox in Vermont History, Vol. 25 (1957), p. 355
1950s
“A poem begins as a lump in the throat, a sense of wrong, a homesickness, a lovesickness.”
Variant: A poem begins as a lump in the throat, a sense of wrong, a homesickness, a lovesickness.
The portion of "The figure a poem makes. It begins in delight and ends in wisdom." is often misquoted as: Poetry begins in delight and ends in wisdom.
The Figure a Poem Makes (1939)
Context: It should be of the pleasure of a poem itself to tell how it can. The figure a poem makes. It begins in delight and ends in wisdom. The figure is the same as for love. No one can really hold that the ecstasy should be static and stand still in one place. It begins in delight, it inclines to the impulse, it assumes direction with the first line laid down, it runs a course of lucky events, and ends in a clarification of life-not necessarily a great clarification, such as sects and cults are founded on, but in a momentary stay against confusion. It has denouement. It has an outcome that though unforeseen was predestined from the first image of the original mood-and indeed from the very mood. It is but a trick poem and no poem at all if the best of it was thought of first and saved for the last. It finds its own name as it goes and discovers the best waiting for it in some final phrase at once wise and sad-the happy-sad blend of the drinking song.
“Oh, come forth into the storm and rout
And be my love in the rain.”
Variant: Come over the hills and far with me
And be my love in the rain.
Source: Complete Poems Of Robert Frost, 1949
As quoted in Vogue (14 March 1963)
1960s
Variant: Always fall in with what you're asked to accept. Take what is given, and make it over your way. My aim in life has always been to hold my own with whatever's going. Not against: with.
“Most of the change we think we see in life
Is due to truths being in and out of favor.”
"The Black Cottage" (1914)
1910s
Robert Frost Stopping by Woods on a Snowy Evening
St. 1
Source: Stopping by Woods on a Snowy Evening (1923)
“We dance round in a ring and suppose,
But the Secret sits in the middle and knows.”
" The Secret Sits http://www.poemhunter.com/poem/the-secret-sits/" (1942) <br class="br">1940s
“A diplomat is a man who always remembers a woman's birthday but never remembers her age.”
Variant: A diplomat is a man who always remembers a woman's birthday but never remembers her age.
“I have promises to keep and miles to go before I sleep.”
Robert Frost Stopping by Woods on a Snowy Evening
"Stopping by Woods on a Snowy Evening" (1923) http://www.poetryfoundation.org/poem/171621 <br class="br">Variant: And miles to go before I sleep. <br class="br">Context: The woods are lovely, dark and deep.<br>But I have promises to keep,<br>And miles to go before I sleep,<br>And miles to go before I sleep.
“Home is the place where, when you have to go there,
They have to take you in.”
"The Death of the Hired Man" (1914)
1910s
“I hold it to be the inalienable right of anybody to go to hell in his own way.”
Variant: I hold it to be the inalienable right of anybody to go to hell in his own way.
The Figure a Poem Makes (1939)
“Forgive, O Lord, my little jokes on Thee
And I'll forgive Thy great big one on me.”
"Forgive, O Lord," In the Clearing (1962) <br class="br">First published in the Harvard Alumni Bulletin (12 November 1960), p. 157 http://books.google.com/books?id=9J_lAAAAMAAJ&q=%22Forgive+O+Lord+my+little+jokes+on+Thee+And+I'll+forgive+Thy+great+big+one+on+me%22&pg=PA157#v=onepage <br class="br">1960s <br class="br">Variant: Forgive, O Lord, my little jokes on Thee And I'll forgive Thy great big one on me.
Source: Poem "The Road Not Taken"
Context: 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;
Then took the other, as just as fair,
And having perhaps the better claim,
Because it was grassy and wanted wear;
Though as for that, the passing there
Had worn them really about the same.
And both that morning equally lay
In leaves no step had trodden black.
Oh, I kept the first for another day!
Yet knowing how way leads to way,
I doubted if I should ever come back.
I shall be telling this with a sigh
Somewhere ages and ages hence:
Two roads diverged in a wood, and I-
I took the one less traveled by,
And that has made all the difference.
“Forgive me my nonsense as I also forgive the nonsense of those who think they talk sense.”
Letter to Louis Untermeyer (8 July 1915)
1910s
“I'm not confused. I'm just well mixed.”
Variant: I am not confused, I'm just well mixed.
“Poetry is when an emotion has found its thought and the thought has found words.”
Variant: Poetry is when an emotion has found its thought and the thought has found words.
Robert Frost book Mountain Interval
Mountain Interval (1920), 5. In the Home Stretch, Line 187-192
General sources
Context: “My dear,
It’s who first thought the thought. You’re searching, Joe,
For things that don’t exist; I mean beginnings.
Ends and beginnings—there are no such things.
There are only middles.
" Fragmentary Blue http://www.ketzle.com/frost/fragblue.htm", st. 1 (1923) <br class="br">1920s
“The woods are lovely, dark and deep.
But I have promises to keep”
Robert Frost Stopping by Woods on a Snowy Evening
General sources <br class="br">Source: "Stopping by Woods on a Snowy Evening" (1923) http://www.poetryfoundation.org/poem/171621 <br class="br">Context: The woods are lovely, dark and deep.<br>But I have promises to keep,<br>And miles to go before I sleep,<br>And miles to go before I sleep.
"Fire and Ice" (1923)
General sources
Preface to A Way Out : A One-act Play (1929)
General sources
Context: Everything written is as good as it is dramatic. It need not declare itself in form, but it is drama or nothing. A least lyric alone may have a hard time, but it can make a beginning, and lyric will be piled on lyric till all are easily heard as sung or spoken by a person in a scene — in character, in a setting. By whom, where and when is the question.
““Men work together,” I told him from the heart,
“Whether they work together or apart.””
The Tuft of Flowers http://www.sparknotes.com/poetry/frost/section2.rhtml <br class="br">General sources
Dedication (1960)
Source: The Oven Bird (1916)
Context: There is a singer everyone has heard,
Loud, a mid-summer and a mid-wood bird,
Who makes the solid tree trunks sound again.
He says that leaves are old and that for flowers
Mid-summer is to spring as one to ten.
He says the early petal-fall is past
When pear and cherry bloom went down in showers
On sunny days a moment overcast;
And comes that other fall we name the fall.
He says the highway dust is over all.
The bird would cease and be as other birds
But that he knows in singing not to sing.
The question that he frames in all but words
Is what to make of a diminished thing.
“They think too much of having shaded out
A few old pecker-fretted apple trees.”
Directive (1947)
Context: p>As for the woods' excitement over you
That sends light rustle rushes to their leaves,
Charge that to upstart inexperience.Where were they all not twenty years ago?
They think too much of having shaded out
A few old pecker-fretted apple trees.</p
“He moves in darkness as it seems to me,
Not of woods only and the shade of trees.”
Mending Wall (1914)
Context: He moves in darkness as it seems to me,
Not of woods only and the shade of trees.
He will not go behind his father’s saying,
And he likes having thought of it so well
He says again, “Good fences make good neighbours.”
Home Burial (1915)
Context: A man must partly give up being a man
With womenfolk. We could have some arrangement
By which I'd bind myself to keep hands off
Anything special you're a-mind to name.
Though I don't like such things 'twixt those that love.
Two that don't love can't live together without them.
But two that do can't live together with them."
She moved the latch a little. "Don't — don't go.
Don't carry it to someone else this time.
Tell me about it if it's something human.
Let me into your grief. I'm not so much
Unlike other folks as your standing there
Apart would make me out. Give me my chance.
“Here are your waters and your watering place.
Drink and be whole again beyond confusion.”
Directive (1947)
Context: I have kept hidden in the instep arch
Of an old cedar at the waterside
A broken drinking goblet like the Grail
Under a spell so the wrong ones can't find it,
So can't get saved, as Saint Mark says they mustn't.
(I stole the goblet from the children's playhouse.)
Here are your waters and your watering place.
Drink and be whole again beyond confusion.
“Read it a hundred times; it will forever keep its freshness as a metal keeps its fragrance.”
The Figure a Poem Makes (1939)
Context: Like a piece of ice on a hot stove the poem must ride on its own melting … Read it a hundred times; it will forever keep its freshness as a metal keeps its fragrance. It can never lose its sense of a meaning that once unfolded by surprise as it went.
Letter http://books.google.com/books?id=R8ksAAAAIAAJ&q=%22I+own+any+form+of+humor+shows+fear+and+inferiority+Irony+is+simply+a+kind+of+guardedness+So+is+a+twinkle+It+keeps+the+reader+from+criticism%22+%22Humor+is+the+most+engaging+cowardice%22&pg=PA166#v=onepage to Louis Untermeyer (10 March 1924) <br class="br">General sources <br class="br">Context: I own any form of humor shows fear and inferiority. Irony is simply a kind of guardedness. So is a twinkle. It keeps the reader from criticism. Whittier, when he shows any style at all is probably a greater person than Longfellow as he is lifted priestlike above consideration of the scornful. Belief is better than anything else, and it is best when rapt, above paying its respects to anybody's doubt whatsoever. At bottom the world isn't a joke. We only joke about it to avoid an issue with someone to let someone know that we know he's there with his questions: to disarm him by seeming to have heard and done justice to this side of the standing argument. Humor is the most engaging cowardice.
“I had a lover’s quarrel with the world.”
The Lesson for Today (1942)
Context: I may have wept that any should have died
Or missed their chance, or not have been their best,
Or been their riches, fame, or love denied;
On me as much as any is the jest.
I take my incompleteness with the rest.
God bless himself can no one else be blessed.
I hold your doctrine of Memento Mori.
And were an epitaph to be my story
I’d have a short one ready for my own.
I would have written of me on my stone:
I had a lover’s quarrel with the world.
Directive (1947)
Context: p>This was no playhouse but a house in earnest.
Your destination and your destiny's
A brook that was the water of the house,
Cold as a spring as yet so near its source,
Too lofty and original to rage.(We know the valley streams that when aroused
Will leave their tatters hung on barb and thorn.)</p
“I do not see why I should e'er turn back”
"Into My Own", st. 4 (1913)
General sources
Context: p>I do not see why I should e'er turn back,
Or those should not set forth upon my track
To overtake me, who should miss me here
And long to know if still I held them dear.They would not find me changed from him they knew —
Only more sure of all I thought was true.</p
