Robert Frost was one of America's most famous 20th century poets. He published his work in several collections including A Boy's Will (1913), North of Boston (1914), and New Hampshire (1923). Frost wrote extensively about nature and rural life in New England. His poems often used intricate rhyme schemes and explored philosophical themes. Some of his most well known poems are "The Road Not Taken," "Stopping by Woods on a Winter Evening," and "Fire and Ice." Frost received numerous honors including four Pulitzer Prizes for his influential poetry.

2. 5 WORDS THAT DESCRIBE ROBERT FROST?
American,
Inspiring,
True,
Pure,
Hero

3. literary devices were used in
Acquainted with the Night by
Robert Frost
he uses repetition.
the fact that half of the lines begin with "I
have."
He also uses caesura, which is a natural
pause or break, in line two of the
poem.

4. He also uses rhyme, which is a pattern of
words that contains similar sounds, but
breaks this near the end of his own poem.
He also uses symbol, which is using an object
or action that means something more than
its literal meaning.
the night represents more than just the night.

5. He also uses enjambment, which is a
continuation of thought in several lines of
poetry.
During the entire poem, he uses these regular
every day objects, but writes it with
deep, sincere meaning that we are suppose
to recognize.

6. After Apple-Picking
Acquainted with the Night
The Aim Was Song
An Old Man's Winter Night
The Armful
Asking for Roses

7. The Bear
Bereft
Birches
The Black Cottage
Bond and Free
A Boundless Moment
A Brook in the City

8. •
•
•
•
•
•
•
•
But Outer Space
Choose Something
Like a Star
A Cliff Dwelling
The Code
Come In
A Considerable Speck
The Cow in Apple-Time

9. A Dream Pang
Dust of Snow
The Egg and the Machine
Evening in a Sugar Orchard
The Exposed Nest
The Fear
Fire and Ice (1916)

10. Fireflies in the Garden
The Flower Boat
Flower-Gathering
For Once, Then Something
Fragmentary Blue
Gathering Leaves
The Generations of Men
Ghost House

11. The Gift Outright
A Girl's Garden
Going for Water
Good Hours
Good-bye, and Keep Cold
The Gum-Gatherer

12. A Hundred Collars
Hannibal
The Hill Wife
Home Burial
Hyla Brook
In a Disused Graveyard
In a Poem
In Hardwood Groves

13. In Neglect
In White (Frost's Early Version of "Design")
Into My Own
A Late Walk
Leaves Compared with Flowers
The Line-Gang
A Line-Storm Song
The Lockless Door
Love and a Question
Lure of the West

14. Meeting and Passing
Mending Wall
A Minor Bird
The Mountain
Mowing
My Butterfly

15. My November Guest
The Need of Being Versed in Country Things
Neither Out Far Nor in Deep
Never Again Would Bird's Song Be the Same
Not to Keep
Nothing Gold Can Stay

16. Now Close the Windows
October
On a Tree Fallen across the Road
On Looking up by Chance at the
Constellations

17. Once by the Pacific (1916)
One Step Backward Taken
Out, Out- (1916)
The Oven Bird
Pan With Us

18. A Patch of Old Snow
The Pasture
Plowmen
A Prayer in Spring
Provide, Provide
Putting in the Seed

19. Quandary
A Question
Range-Finding
Reluctance
Revelation
The Road Not Taken
The Road That Lost its Reason
The Rose Family

20. Rose Pogonias
The Runaway
The Secret Sits
The Self-Seeker
A Servant to Servants

21. They Were Welcome to Their Belief
A Time to Talk
To E.T.
To Earthward
To the Thawing Wind
Tree at My Window

22. The Silken Tent
A Soldier
The Sound of the Trees
The Span of Life
Spring Pools
The Star-Splitter
Stars

23. The Trial by Existence
The Tuft of Flowers
Two Look at Two
Two Tramps in Mud Time
Stopping by Woods on a Snowy Evening
Storm Fear
The Telephone

24. The Vanishing Red
The Vantage Point
War Thoughts at Home
What Fifty Said
The Witch of Cos
The Wood-Pile

25. AFTER APPLE PICKING
The speaker feels bad for the apples that have
touched the ground and are consequently smushed
up to make juice instead. This attitude suggests
that he might feel bad for the human race as a
whole, which often aims for lofty spiritual
goals, only to get bruised – or worse – by earthly
flaws. Frost seems to have absorbed the sinhaunted mentality of New England, present from
the Puritans onward, but he also pushes back
against it subtly.

26. • The theme of the poem 'After the Apple
Picking' is symbolic. It is known as a very
metaphorical poem.

27. it presents us with an experience in which the world of normal
consciousness and the world that lies beyond it meet and
mingle. 'I cannot rub the strangeness from my sight', says the
narrator, and this strangeness, the 'essence of winter sleep', is
something he shares with the reader. The dreamy confusion
of the rhythm, the curiously 'echoing' effect of the
irregular, unpredictable rhyme scheme, the mixing of
tenses, tones, and senses, the hypnotic repetition of sensory
detail: all these things promote a transformation of reality that
comes, paradoxically, from a close observation of the real, its
shape, weight, and fragrance, rather than any attempt to soar
above it

28. Magnified apples appear and disappear,
Stem end and blossom end,
And every fleck of russet showing clear.
My instep arch not only keeps the ache,
It keeps the pressure of the ladder-round.
I feel the ladder sway as the boughs bend.
And I keep hearing from the cellar bin
The rumbling sound
Of load on load of apples coming in.

29. "After Apple-Picking" has often been compared to
Keats‟ "Ode to Autumn," as if it were primarily a
celebration of harvest. But its elevated diction as
well as its images, mood and theme, all suggest a
greater affinity with Keats' :Ode to a Nightingale." In
that weary, drowsy poem the speaker longs to
escape through art, symbolized by the
nightingale, from the pain of the real world and
wants to melt into the welcome oblivion of death:

30. My heart aches, and a drowsy
numbness pains
My sense, as though of hemlock I had
drunk,
Or emptied some dull opiate to the
drains
One minute past, and Lethe-wards
had sunk,- john keats

31. Frost's narrator, standing on the earth but looking
upward, is also suspended between the real
and the dream world
My long two-pointed ladder's sticking through a
tree
Toward heaven still
And there's a barrel that I didn't fill.

32. The long and short lines, the irregular rhyme
scheme, the recurrent participles (indicating
work), the slow tempo and incantatory rhythm all
suggest that repetitive labor has drained away his
energy. The perfume of the apples - equated
through "essence" with profound rest - has the
narcotic, almost sensual effect of ether. Frost's
speaker, like Keats', is suffused with drowsy
numbness, yet enters the visionary state necessary
to artistic creation:

33. Essence of winter sleep is on the night,
The scent of apples: I am drowsing off.
I cannot rub the strangeness from my sight
I got from looking through a pane of glass
I skimmed this morning from the drinking
trough.

34. The glassy piece of ice - which distorts, transforms
and makes the familiar seem strange - is, like
Keats' nightingale, a symbol of art. In his dream
state (the word "sleep" occurs six times in the
poem), and he rhythmically sways on the ladder
when the boughs bend with his weight:
Magnified apples appear and disappear,
Stem end and blossom end,
And every fleck of russet showing clear,

35. As the apples are gathered - and the poem
written - he becomes both physically and
mentally exhausted:
For I have had too much
Of apple-picking: I am overtired
Of the great harvest I myself desired.

36. He needs to regenerate himself, like the
hibernating woodchuck, by a long, deathlike
winter sleep, so he will be ready to reenter
the poet's dream world and achieve another
spurt of creativity. In "After Apple-Picking"
Robert Frost achieves a perfect fusion of
pastoral and poetic labor.

37. (1)Boy’s Will (1913)
(2) North of Boston (1914)
(3) Mountain Interval(1916)
(4) New Hampshire (1923)
(5) West Running Brook (1928)
(6) A Further Range (1936)
(7) A Witness Tree (1942)
( 8) Steeple Bush
(9) Two Masques (1945)
(10) In the Clearing (1962)

38. Nature is a so wide spread in his poems that we feel we are
roaming with Wordsworth but without any supernatural
mysticism of the Romantics. Nature in its real and
practical sense can be viewed in Frost’s poems:
Snow falling and night falling fast, oh, fast
In a field I looked into going past,
And the ground almost covered smooth in snow,
But a few weeds and stubble showing last.
(Desert Places)

39. • My little horse must think it queer
To stop without a farmhouse near
Between the woods and frozen lake
The darkest evening of the year.
(Stopping by Woods on a Snowy Evening)

40. But as I said it, swift there passed me by
On noiseless wing a bewildered butterfly.
(The Tuft of Flowers)

41. His simplicity needs no shackles to sustain
itself because truth is ever green.
She turned and sank upon her skirt at that,
And her face changed from terrified to dull.
(Home Burial)

42. •
•
The bear puts both arms around the tree
above her
And draws it down as if it were a lover
(The Bear)
Out of the mud two strangers came
And caught me splitting wood in the yard.
(Two Tramps in Mud Time)

43. Frost is always with humanity as a whole, not
in pieces and portions:
He hates to see a boy the fool of books.
(The Death of the Hired Man)
Off he goes always when I need him most.
(Mending Wall)

44. •
We‟ll both be married to the brook.
(West-Running Brook)
• ” Good fences make good neighbours;
(Mending Wall)

45. Robert Frost has a balanced philosophy of life. He is neither
a pessimist to see darkness all around nor an optimistic
fool who fails to understand the practical and realistic
sense of life and nature.
Though sometimes he is frightened by nature yet he enjoys
it his fill.
About social life also he remains a practical thinker who
bases every experience on some or the other cause. This
philosophy is at the same time modern and scientific and
at the same time not non-relogious.

46. • Some say the world will end in fire
Some say in ice.
(Fire and Ice)
• Something there is that doesn’t love a wall,
(Mending Wall)

47. •
The woods are lovely, dark and deep,
But I have promises to keep,
And miles to go before I sleep,
And miles to before I sleep.
(Stopping by Woods on a Snowy Evening)
Thus his philosophy is based on rationality not on
any ununderstandable mysticism.

48. •
•
•
•
Frost loves man, he thinks about man and he talk with
man.
He is against the artificial divisions that force man cut
his brother‟s throat.
A poet of nature and man can never be narrow minded
or limited in his approach .
At the same time, he does not allow to let loose the
reins of morality and good behaviour.

49. “It was to the poets in particular that men turned
for a redefining of
their plave in the cosmic scheme of things. What
they found was a
diversity of minds and spirits __ all eager to
defend. The cause of beauty
and truth against the ugliness of industrilism and
commercialism so

50. • prevalent in England.”
The universal cataract of death
That sepends to nothingness
(West-Running Brook)
Our life runs down in sending up the clock.
(West-Running Brook)

51. •
•
•
•
Imagery grants poetry a pleasing flavor and
Frost is not unaware of it. He uses images in his poems so
artistically that we feel some liking for forest or other objects
of universe.
It is the expertness of a narrator that he does not reject the
low beings rather mentions them to make his poetry realistic
and natural. Some instances can be quoted from Frost‟s
poems:
But no, I was out for stars:
I would not come in.
(Come In)

52. •
•
A doe from round a spruce stood looking at them.
(The Onset)
The butterfly and I had lit upon,
Nevertheless, a message from the dawn,
That made me hear the wakening birds around,
And hear his long say the whispering to the
ground.
(The Tuft of Flowers)

53. •
•
•
Were he not gone,
The woodchuck could say whether it‟s like his
Long sleep, as I describe its coming on,
Or just some human sleep .
(After Apple-Picking)
Irony, the salt of narration, makes almost everything
tasty, impressive and praiseworthy. Frost makes a skillful use
of this weapon of writing . His poems are replete with ironic
senses:
Something there is that doesn‟t love a wall
(Mending Wall)

54. •
•
•
•
The loneliness included me unawares
(Desert Places)
I‟d like to get away from earth a while
And then come back to it and begin over.
(Birches)
Irony distinguishes one thing from others:
I took the one less traveled by,
And that has made all the difference;
(The Road Not Taken)

55. •
•
•
•
•
•
Irony makes the situation dramatic;
Magnified apples appear and disappear,
(After Apple-Picking)
Irony exposes the base of somebody‟s behaviour
He will not go behind his father‟s saying.
(Mending Wall)
Irony explains some idea:
Men work together, I told him from the heart,
Whether they work together or apart;
(The Tuft of Flowers)

56. • The use of devices like pathetic fallacy,
similes and metaphors embellish writings if
they are used properly.
• Sublimity can‟t be achieved with out the
impressive application of these tricks.

57. •
•
•
•
And hear his long scythe whispering to the
ground.
(Pathetic fallacy)( The Tuft of Flowers)
My little horse thinks it queer
(Transferred epithet)( Stopping by Woods)
Well, those days trouble Silas like a dream.
(Simile) (The Death of the Hired Man)
That brought him to that creaking room was age.
[ Transferred Ephithet] (An old Man‟s winter Night)

58. • His all pine and I am apple orchard .
[Metaphor] (Mending Wall)
• Nevertheless, a message from the dawn
(The Tuft of Flowers)
• I shall laugh the worst laugh I ever
laughed.
[Alliteration] (Home Burial)

59. •
•
The first reading of most of his poems puts us
to delusion that he is a local poet. He often
moves about in his New England and
searches out the subject of his poems .
But a second and deeper reading brings the
fact before us that he is a poet of all the world
and of all times.

60. •
In „Stopping by Woods…. the traveller, the
poet himself, is in fact every man of the world;
the night is the time of life ; the horse is
consciousness, destination is the end of life.
•
The charm of the simple poem becomes a
symbol of life and this quality makes the poet a
universal one.

61. •
•
In „After Apple Picking‟ the picker is the every
man of the world, apples are desires ,barrel is
the greed of man, Ice-block is man‟s life, hoary
grass is this world, etc.
“The Road Not Taken” indicates those people
who don‟t follow the beaten rut but create
something new- often the great revolutionaries
turn the tables, great scholars propound new
theories , great leaders make the fortune of a
nation and convert slaves into masters.

62. •
•
•
•
Frost has behaved exceptionally while treating the theme of Love:
Something these is that doesn‟t love a wall
(Mending Wall)
Earth‟s the right place for love:
I don‟t know where it‟s likely to go better.
(Birches)
Only where love and need are one,
And the work is play for mortal stakes,
Is the deed ever really done
For Heaven and Future‟s sakes.
(Two Tramps in Mud Time)

63. •
He is alone
•
in jumping on birches,
•
in apple picking
•
in Desert Places,
•
in the Road Not Taken,
•
in the Tuft of Flowers, etc.
•
This loneliness has been the theme of the universe. Most of the
stars are in loneliness. Man is alone in grave also. Thus
loneliness in poetry makes it universal.

64. •
Frost’s poetry has the characteristic of lyricism.
•
his simplicity is called deceptive.
•
This simplicity and sharpness reminds us of Geoffrey
Chaucer:
•
Some say the world will end in fire,
Some say in ice
(Fire and Ice)
•
I went to turn the grass once after one
Who mowed it in the dew before the sun.
(The Tuft of Flowers)

65. Snow falling and night falling fast , oh, fast
In a field I looked into going past.
(Desert Places)

66. • In some poems, we find some sense of fear . This fear is also not
baseless because in nature fear is always hovering on human
beings.
•
This sense of fear makes Frost ‘s poetry more realistic. Without
fear, the balance of the universe will be disturbed; the same will
happen without hope.
• I advocate a semi- revolution
The trouble with a total revolution
(A Semi Revolution)
• I have it in me so much nearer home
To scare myself with my own desert places.
(Desert Places)