Acquainted With The Night, By Robert Frost
Robert Frost, an American-born English poet who could never feel satisfied in one location, constantly sought out travel throughout his hard experiences and times when life felt dull (Pritchard). However cliché the symbol of a journey might appear as life, in Frost’s case the journeys he took really did reflect each element or turning point in his existence. From his birth in 1874 in San Francisco to his move to Lawrence, Massachusetts after his father’s death, to Dartmouth for college, back to Lawrence to work, then to “Virginia's Dismal Swamp” after his later-to-be wife/high school sweetheart, Elinor Miraim White, rejected his first proposal, then his attempt to return to school again at Harvard, then to New Hampshire to settle with his
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Frost sets up each of his poems similarly in the structure, breaking each into stanzas with a designated rhyme scheme. However, in concerns to traditional poetry, Frost steps past it at this point when he varies the length of each poem, the rhyme schemes, and amount of stanzas, providing a more modernists approach to the literature while holding some of its core values (A Brief Guide to Modernism). As a poet of in-between eras, Frost holds onto the essential structure of a poem because he burgeoned with it, but as other poets began questioning the nature of such conformity after the progressiveness occurring in the nineteenth century, Frost shifted his thinking accordingly to adopt the new audience (A Brief Guide to Modernism). Another style Frost utilizes to gain audiences derives from his knowledge of vernacular language which he picked up in the variety of locations he traveled to or lived paired with his use of first person in each poem (Diyanni). As Frost sets up each of his poems with a traveler roaming until he reaches a revelation, the intimate relationship between the words and the reader intensifies throughout each work as the plot reaches its climax. In “Reluctance,” Frost begins with incorporating the reader’s own unique experience with his first person “I have climbed the hills of view,” allowing the individual to draw upon past memories paralleling a possible uphill struggle and incorporate it throughout the poem instead of depicting an uphill struggle (Reluctance). Frost describes with subjects instead of ideas,
Frost sets up each of his poems similarly in the structure, breaking each into stanzas with a designated rhyme scheme. However, in concerns to traditional poetry, Frost steps past it at this point when he varies the length of each poem, the rhyme schemes, and amount of stanzas, providing a more modernists approach to the literature while holding some of its core values (A Brief Guide to Modernism). As a poet of in-between eras, Frost holds onto the essential structure of a poem because he burgeoned with it, but as other poets began questioning the nature of such conformity after the progressiveness occurring in the nineteenth century, Frost shifted his thinking accordingly to adopt the new audience (A Brief Guide to Modernism). Another style Frost utilizes to gain audiences derives from his knowledge of vernacular language which he picked up in the variety of locations he traveled to or lived paired with his use of first person in each poem (Diyanni). As Frost sets up each of his poems with a traveler roaming until he reaches a revelation, the intimate relationship between the words and the reader intensifies throughout each work as the plot reaches its climax. In “Reluctance,” Frost begins with incorporating the reader’s own unique experience with his first person “I have climbed the hills of view,” allowing the individual to draw upon past memories paralleling a possible uphill struggle and incorporate it throughout the poem instead of depicting an uphill struggle (Reluctance). Frost describes with subjects instead of ideas,