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American Poets of the 20th Century

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How to Analyze Poetry

Context of the Poem
Style of the Poem
Title of the Poem
Repetition in the Poem
Opening and Closing Lines of the Poem
Passage of Time in the Poem
Speaker of the Poem
Basic Details of the Poem
Culture
Fantasy versus Reality
Mood and Tone of the Poem
Themes of the Poem
Rhythm of the Poem
Use of the Senses in the Poem
Imagery in the Poem
Language of the Poem
Supplemental Materials
Drawing Conclusions

The Poets

Edgar Lee Masters (1868–1950)
Edwin Arlington Robinson (1869–1935)
Robert Frost (1874–1963)
Amy Lowell (1874–1925)
Carl Sandburg (1878–1967)
Wallace Stevens (1879–1955)
William Carlos Williams (1883–1963)
Ezra Pound (1885–1972)
H. D. (1886–1961)
Robinson Jeffers (1887–1962)
Marianne Moore (1887–1972)
T. S. Eliot (1888–1965)
John Crowe Ransom (1888–1974)
Edna St. Vincent Millay (1892–1950)
Jean Toomer (1894–1967)
Louise Bogan (1897–1970)
Hart Crane (1899–1933)
Allen Tate (1899–1979)
Sterling Brown (1901–1989)
Langston Hughes (1902–1967)
Countée Cullen (1903–1946)
Elizabeth Bishop (1911–1979)
John Berryman (1914–1972)
Randall Jarrell (1914–1965)
Gwendolyn Brooks (1917–2000)
Robert Lowell (1917 — 1977)
Richard Wilbur (1921– )
James Dickey (1923–1997)
Denise Levertov (1923–1997)
A. R. Ammons (1926–2001)
Allen Ginsberg (1926–1997)
W. S. Merwin (1927– )
James Wright (1927–1980)
Anne Sexton (1928–1974)
Adrienne Rich (1929– )
Sylvia Plath (1932–1963)
Amiri Baraka (1934– )
Wendy Rose (1948– )
Joy Harjo (1951– )
Rita Dove (1952– )
Cathy Song (1955– )

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The Poets

Robert Frost (1874–1963)

Frost returned to the United States on borrowed funds at the beginning of World War I. He settled in Franconia, New Hampshire, where he soaked up New England culture. Seated in his Morris chair with his lapboard in place, the farmer-poet looked out on the New England landscape as he wrote Mountain Interval (1916) and the beginnings of New Hampshire: A Poem with Notes and Grace Notes (1923), which contains "Fire and Ice" and "Stopping by Woods on a Snowy Evening," an American masterwork. Because he was newly popular on the commercial market, Frost violated his seclusion in New England to serve as his own agent and fan club to keep himself financially afloat.

A distinguished new literary voice and member of the National Institute of Arts and Letters, Frost found himself in demand and began giving readings across the United States. He served the University of Michigan as poet in residence and was honored with the title Fellow in Letters at both Harvard and Dartmouth. In addition to one drama, A Way Out (1929), he steadily contributed to the New England poetic canon with West-Running Brook (1928), A Further Range (1936), A Witness Tree (1942), A Masque of Reason (1945), Steeple Bush (1947), A Masque of Mercy (1947), How Not to Be King (1951), and And All We Call American (1958).

Frost's works found favor with readers worldwide. He won the Pulitzer Prize for poetry in 1924 and again in 1931, 1937, and 1943, a sad series of years that saw the deaths of his sister Jeanie in a mental institution, his favorite daughter Marjorie of puerperal fever, his wife Elinor from heart disease, and his son Carol, who committed suicide with a deer rifle. In addition to receiving a gold medal and membership from the American Academy of Arts and Letters, the United States Senate accorded Frost a citation of honor in 1950, and Vermont named a mountain for him. In his declining years, he wintered in Florida. In 1948, he returned to Amherst, where he lived until his death from a pulmonary embolism on January 29, 1963. He was eulogized at Amherst's Johnson Chapel, where his ashes were buried in the family plot in June of 1963.


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