The following quote is said by poet Ted Kooser in his book, "The Poetry Home Repair Manual."
"Thousand of readers love Robert Frost's 'Stopping by Woods on a Snowy Evening,' but very few of us care that it was written in a complicated form with a demanding rhyme scheme. The beauty of Frost's poetry catches the reader, not the fact that he was able to shoehorn that beauty into a difficult literary structure. Of course, the form lends rhythm and music, but we don't start out by remarking upon the form. Surely Frost must have been pleased with himself for mastering that structure, for meeting its difficult challenges, but just as surely he would have known that the great majority of his readers would probably appreciate his poem without noticing this technical accomplishment, being, as could be expected, far more engaged by the poem's atmospheric effects: the little horse with its harness bells, the mysterious wood, and the soft and silent snow. The complicated literary form of 'Stopping by Woods' is inseparable from the poem, of course, but it is all but invisible to the average reader. One of that poem's most important achievements is to have kept its structure from calling attention to itself" (Kooser 38-9).
ALSO:
The poet Marion Montgomery said about Frost: "His attitude toward nature is one of armed and amicable truce and mutual respect interspersed with crossings of the boundaries..."
ALSO:
Poet John T. Napier says Frost is able to "to find the ordinary a matrix for the extraordinary."
ALSO:
Imagist poet Amy Lowell has said: "He writes in classic metres in a way to set the teeth of all the poets of the older schools on edge; and he writes in classic metres, and uses inversions and cliches whenever he pleases, those devices so abhorred by the newest generation. He goes his own way, regardless of anyone else's rules, and the result is a book of unusual power and sincerity."
"Thousand of readers love Robert Frost's 'Stopping by Woods on a Snowy Evening,' but very few of us care that it was written in a complicated form with a demanding rhyme scheme. The beauty of Frost's poetry catches the reader, not the fact that he was able to shoehorn that beauty into a difficult literary structure. Of course, the form lends rhythm and music, but we don't start out by remarking upon the form. Surely Frost must have been pleased with himself for mastering that structure, for meeting its difficult challenges, but just as surely he would have known that the great majority of his readers would probably appreciate his poem without noticing this technical accomplishment, being, as could be expected, far more engaged by the poem's atmospheric effects: the little horse with its harness bells, the mysterious wood, and the soft and silent snow. The complicated literary form of 'Stopping by Woods' is inseparable from the poem, of course, but it is all but invisible to the average reader. One of that poem's most important achievements is to have kept its structure from calling attention to itself" (Kooser 38-9).
ALSO:
The poet Marion Montgomery said about Frost: "His attitude toward nature is one of armed and amicable truce and mutual respect interspersed with crossings of the boundaries..."
ALSO:
Poet John T. Napier says Frost is able to "to find the ordinary a matrix for the extraordinary."
ALSO:
Imagist poet Amy Lowell has said: "He writes in classic metres in a way to set the teeth of all the poets of the older schools on edge; and he writes in classic metres, and uses inversions and cliches whenever he pleases, those devices so abhorred by the newest generation. He goes his own way, regardless of anyone else's rules, and the result is a book of unusual power and sincerity."