A nagging question in Frost criticism in the half-century since the author’s death has been where to place him in the larger narrative of American poetry.Tags: Islamic Banking In Pakistan Research PapersThesis Body_ClassesStaples Thesis CanadaBuying Term Papers OnlineArt Business PlanGender Roles In Modern Society EssayMarket And Competition Business PlanBest Site To Buy A Term Paper
A careful examination of Frost’s narrative work, however, not only demonstrates precisely what he has been habitually denied—a record of bold innovation and originality; it also provides the strongest case for his Modernist identity.
All of these hard-edge qualities demonstrated a modern, if not quite Modernist, sensibility. Frost’s commitment to narrative verse (as well as to rhyme and meter) linked him instead to the slightly older Edwin Arlington Robinson.
At the same time, however, critics have said little about Frost’s use of the narrative mode itself—surely the book’s most notable feature—probably because it made him seem like a retrograde figure, a poet glancing backward at tradition rather than advancing boldly with his younger contemporaries such as Wallace Stevens, Ezra Pound, and T. Together they have seemed the two major transitional figures in American poetry between traditional and Modernist aesthetics.
They have explored Frost’s stark regional subject matter and his dignified portrayal of the rural poor.
Critics have understood the author’s decisive break with soft and sentimental Georgian romanticism.