Essay Biography of Robert Frost

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“Rightly or wrongly, Robert Frost has achieved a reputation as a poet of nature…” (Gerber 155). Yes, Frost does use imagery of nature in his poems, but to say he is a “nature poet” is distorting his poetry by overlooking the poem’s darker complexions (Gerber 155). An aspect of his poems that is frequently overlooked is the main character’s internal conflict. In “The Road Not Taken” and “Stopping By Woods On A
Snowy Evening” characters are faced with an inner conflict metaphorically described by nature. In these two poems Frost uses nature to hide the reality of how self-conscious the main character actually is.

Robert Frost was born in San Francisco, California on March 26, 1874.
When his father died in 1885 he moved to
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He spoke in the
Yankee idioms of the New England area (Michalowski). “Mention the poetry of Robert Frost to anyone…and images of idyllic New England scenes come to mind: cobbled streets that shine in the moonlight, a sleigh ride in winter woods…” (De Fusco 13) but “ he is more than a
New England poet: he is more than an American poet; he is a poet who can be understood anywhere…” (Van Doren).

In all of Robert Frost’s poetry there is a use of metaphor. “
‘Stopping By Woods On A Snowy Evening’…is about self-consciousness…about a man turned from nature by the demands of a man-made world” (Wakefield). The major problem of the poem is why the speaker pauses by the woods. The answer is the lure of the dark, impenetrable, snow-filled woods is at once the lure of beauty and the lure of death (Sweeny and Lindroth 52). All of these problems are taking place within the main characters head.

The scene of “Stopping By Woods On A Snowy Evening” is a cold, snowy evening in early winter. The man in the story is looking around his neighbor’s woods with his horse (Sweeny and Lindroth 50). As soon as the poem begins “there are conflicts set up in the first and second stanzas. “The first conflict is between the poet and the owner of the woods […] the second conflict is between the poet and his horse”
(Sweeny and Lindroth 51). These conflicts are all divided into three different sections of the poem (De Fusco 93).

In the first section, a man is in the

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