Gormanston English » Blog Archive » Analysis of ‘The Road Not Taken’ by Robert Frost. Gormanston English » Blog Archive » Analysis of ‘Mending Wall’ by Robert Frost. Robert Frost Recites ‘Stopping by Woods on a Snowy Evening’ Settling the Issue of Doubleness in Robert Frost : Harriet Staff : Harriet the Blog. 2, Robert Frost. Mr. Frost came into the front room of his house in Cambridge, Massachusetts, casually dressed, wearing high plaid slippers, offering greetings with a quiet, even diffident friendliness. But there was no mistaking the evidence of the enormous power of his personality. It makes you at once aware of the thick, compacted strength of his body, even now at eighty-six; it is apparent in his face, actually too alive and spontaneously expressive to be as ruggedly heroic as in his photographs. The impression of massiveness, far exceeding his physical size, isn’t separable from the public image he creates and preserves.
That this image is invariably associated with popular conceptions of New England is no simple matter of his own geographical preferences. More specifically, he seemed at various points to find the most immediate threat to his freedom in the tape recorder. Frost was seated most of the time in a blue overstuffed chair which he had bought to write in. Why have you never liked a desk? Schulz on the Terrors and Pleasures of Robert Frost. Frost in 1958. Whose woods these are I think you know. Because, really, how could you not?
Other than the ones where Dante got lost, they might be the most famous woods in the history of verse; certainly they are the most famous woods in American literature. I am talking, of course, about the forest in Robert Frost’s “Stopping by Woods on a Snowy Evening.” I can recall with some clarity my first encounter with those woods, which was also my first encounter with Frost. I was in the fourth grade. The poem was on the blackboard, and my teacher asked for a volunteer to read it aloud. A quarter-century later, I’m sitting at a different desk, looking at the same poem—this time in The Art of Robert Frost, a new book by British professor Tim Kendall. This piece is my attempt to go back to A. The fact that we routinely teach Frost to 10-year-olds suggests one set of answers.
That was the general impression of Frost after his first book, A Boy’s Will, was published in 1915, and it lingers still.