Book contents
- The Cambridge History of American Poetry
- The Cambridge History of American Poetry
- Copyright page
- Contents
- Notes on Contributors
- Acknowledgments
- Introduction
- Part I Beginnings: Poetry before 1800
- Part II A New Nation: Poetry from 1800 to 1900
- Part III Forms of Modernism, 1900–1950
- Chapter 22 The Twentieth Century Begins
- Chapter 23 Robert Frost and Tradition
- Chapter 24 T. S. Eliot
- Chapter 25 William Carlos Williams
- Chapter 26 Finding “Only Words” Mysterious
- Chapter 27 Marianne Moore and the Printed Page
- Chapter 28 The Formalist Modernism of Edna St. Vincent Millay, Helene Johnson, and Louise Bogan
- Chapter 29 The Romantic and Anti-Romantic in the Poetry of Wallace Stevens
- Chapter 30 Ezra Pound, William Carlos Williams, and the East Coast Projectivists
- Chapter 31 Langston Hughes and His World
- Chapter 32 The Objectivists and the Left
- Chapter 33 “All the Blessings of This Consuming Chance”
- Chapter 34 Elizabeth Bishop, Randall Jarrell, and the Lost World of Real Feeling
- Chapter 35 Writing the South
- Part IV Beyond Modernism: American Poetry, 1950–2000
- Selected Bibliographies
- Index
Chapter 23 - Robert Frost and Tradition
from Part III - Forms of Modernism, 1900–1950
Published online by Cambridge University Press: 05 December 2014
Book contents
- The Cambridge History of American Poetry
- The Cambridge History of American Poetry
- Copyright page
- Contents
- Notes on Contributors
- Acknowledgments
- Introduction
- Part I Beginnings: Poetry before 1800
- Part II A New Nation: Poetry from 1800 to 1900
- Part III Forms of Modernism, 1900–1950
- Chapter 22 The Twentieth Century Begins
- Chapter 23 Robert Frost and Tradition
- Chapter 24 T. S. Eliot
- Chapter 25 William Carlos Williams
- Chapter 26 Finding “Only Words” Mysterious
- Chapter 27 Marianne Moore and the Printed Page
- Chapter 28 The Formalist Modernism of Edna St. Vincent Millay, Helene Johnson, and Louise Bogan
- Chapter 29 The Romantic and Anti-Romantic in the Poetry of Wallace Stevens
- Chapter 30 Ezra Pound, William Carlos Williams, and the East Coast Projectivists
- Chapter 31 Langston Hughes and His World
- Chapter 32 The Objectivists and the Left
- Chapter 33 “All the Blessings of This Consuming Chance”
- Chapter 34 Elizabeth Bishop, Randall Jarrell, and the Lost World of Real Feeling
- Chapter 35 Writing the South
- Part IV Beyond Modernism: American Poetry, 1950–2000
- Selected Bibliographies
- Index
Summary
Robert Frost became the most well-known English-language poet of the twentieth century. Frost's choice was deliberate. There is a kind of success called of esteem, he wrote in a letter early in his career and it butters no parsnips. His first volume, A Boy's Will, takes its title from Longfellow, and its opening work, called Into My Own, presents a speaker who would be only more sure of all of his thought was true. Cognition does not apprehend the world so much as work on and in it, Frost believes, through the effortful links by which one turns the alien and unknown into the significant and owned. Frost was deeply read in English-language poetry and knew classical literature in the original, his uniquely rhymed sonnet recalls a Virgilian georgic tradition manifest also in Marvell's and Wordsworth's verse. The question of the renewal marks one final philosophical theme that pervades Frost's poetry and deepens particularly his poems of marriage.
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- The Cambridge History of American Poetry , pp. 519 - 541Publisher: Cambridge University PressPrint publication year: 2014