Frases de Robert Lee Frost

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Variante: En dos palabras puedo resumir cuanto he aprendido acerca de la vida: Sigue adelante.
Fuente: "The Death of the Hired Man" (1914).

Fuente: "Fuego y hielo".

Variante: Dos caminos se bifurcaban en un bosque y yo... Yo tomé el menos transitado, y eso hizo toda la diferencia.
Fuente: "The Road Not Taken", 1916.

Fuente: "The Death of the Hired Man" (1914).

Fuente: "A Servant to Servants" (1914).

Fuente: "The Black Cottage" (1914).

Directive (1947)
Contexto: p>This was no playhouse but a house in earnest.
Your destination and your destiny's
A brook that was the water of the house,
Cold as a spring as yet so near its source,
Too lofty and original to rage.(We know the valley streams that when aroused
Will leave their tatters hung on barb and thorn.)</p

"Into My Own", st. 4 (1913)
General sources
Contexto: p>I do not see why I should e'er turn back,
Or those should not set forth upon my track
To overtake me, who should miss me here
And long to know if still I held them dear.They would not find me changed from him they knew —
Only more sure of all I thought was true.</p

Directive (1947)
Contexto: I have kept hidden in the instep arch
Of an old cedar at the waterside
A broken drinking goblet like the Grail
Under a spell so the wrong ones can't find it,
So can't get saved, as Saint Mark says they mustn't.
(I stole the goblet from the children's playhouse.)
Here are your waters and your watering place.
Drink and be whole again beyond confusion.

Dedication (1960)
Contexto: There was the book of profile tales declaring
For the emboldened politicians daring
To break with followers when in the wrong,
A healthy independence of the throng,
A democratic form of right divine
To rule first answerable to high design.
There is a call to life a little sterner,
And braver for the earner, learner, yearner.
Less criticism of the field and court
And more preoccupation with the sport.

Directive (1947)
Contexto: p>The height of the adventure is the height
Of country where two village cultures faded
Into each other. Both of them are lost. And if you're lost enough to find yourself
By now, pull in your ladder road behind you
And put a sign up CLOSED to all but me.</p

As quoted in Robert Frost : The Trial by Existence (1960) by Elizabeth Shepley Sergeant, p. 174
General sources
Contexto: It is only a moment here and a moment there that the greatest writer has. Some cognizance of the fact must be taken in your teaching.

Letter http://books.google.com/books?id=R8ksAAAAIAAJ&q=%22I+own+any+form+of+humor+shows+fear+and+inferiority+Irony+is+simply+a+kind+of+guardedness+So+is+a+twinkle+It+keeps+the+reader+from+criticism%22+%22Humor+is+the+most+engaging+cowardice%22&pg=PA166#v=onepage to Louis Untermeyer (10 March 1924)
General sources
Contexto: I own any form of humor shows fear and inferiority. Irony is simply a kind of guardedness. So is a twinkle. It keeps the reader from criticism. Whittier, when he shows any style at all is probably a greater person than Longfellow as he is lifted priestlike above consideration of the scornful. Belief is better than anything else, and it is best when rapt, above paying its respects to anybody's doubt whatsoever. At bottom the world isn't a joke. We only joke about it to avoid an issue with someone to let someone know that we know he's there with his questions: to disarm him by seeming to have heard and done justice to this side of the standing argument. Humor is the most engaging cowardice.

General sources
Fuente: "The Poetry of Amy Lowell" in The Christian Science Monitor (16 May 1925)

The Lesson for Today (1942)
Contexto: I may have wept that any should have died
Or missed their chance, or not have been their best,
Or been their riches, fame, or love denied;
On me as much as any is the jest.
I take my incompleteness with the rest.
God bless himself can no one else be blessed.

I hold your doctrine of Memento Mori.
And were an epitaph to be my story
I’d have a short one ready for my own.
I would have written of me on my stone:
I had a lover’s quarrel with the world.

" Take Something Like a Star http://somethingbeautiful.typepad.com/blog/2004/10/robert_frost_to.html" (1949)
General sources
Contexto: O Star (the fairest one in sight)
We grant your loftiness the right
To some obscurity of cloud —
It will not do to say of night,
Since dark is what brings out your light.
Some mystery becomes the proud.
But to be wholly taciturn
In your reserve is not allowed.
Say something to us that we can learn
By heart and when alone repeat.
Say something! And it says "I burn."

Dedication (1960)
Contexto: Today is for my cause a day of days.
And his be poetry's old-fashioned praise
Who was the first to think of such a thing.
This verse that in acknowledgement I bring
Goes back to the beginning of the end
Of what had been for centuries the trend;
A turning point in modern history.

The Figure a Poem Makes (1939)
Contexto: Scholars and artists thrown together are often annoyed at the puzzle of where they differ. Both work from knowledge; but I suspect they differ most importantly in the way their knowledge is come by. Scholars get theirs with conscientious thoroughness along projected lines of logic; poets theirs cavalierly and as it happens in and out of books. They stick to nothing deliberately, but let what will stick to them like burrs where they walk in the fields.

For Once, Then, Something (1923)
Contexto: Others taunt me with having knelt at well-curbs
Always wrong to the light, so never seeing
Deeper down in the well than where the water
Gives me back in [[w:Narcissus (mythology)|a shining surface picture
My myself]] in the summer heaven, godlike
Looking out of a wreath of fern and cloud puffs.
Once, when trying with chin against a well-curb,
I discerned, as I thought, beyond the picture,
Through the picture, a something white, uncertain,
Something more of the depths – and then I lost it.
Water came to rebuke the too clear water.
One drop fell from a fern, and lo, a ripple
Shook whatever it was lay there at bottom,
Blurred it, blotted it out. What was that whiteness?
Truth? A pebble of quartz? For once, then, something.

The Lesson for Today (1942)

The Lesson for Today (1942)
Contexto: They've tried to grasp with too much social fact
Too large a situation. You and I
Would be afraid if we should comprehend
And get outside of too much bad statistics,
Our muscles never could again contract:
We never could recover human shape,
But must live lives out mentally agape
Or die of philosophical distention.
That's how we feel — and we're no special mystics.

"Into My Own", st. 4 (1913)
General sources
Contexto: p>I do not see why I should e'er turn back,
Or those should not set forth upon my track
To overtake me, who should miss me here
And long to know if still I held them dear.They would not find me changed from him they knew —
Only more sure of all I thought was true.</p

Home Burial (1915)
Contexto: He saw her from the bottom of the stairs
Before she saw him. She was starting down,
Looking back over her shoulder at some fear.
She took a doubtful step and then undid it
To raise herself and look again. He spoke
Advancing toward her: "What is it you see
From up there always?—for I want to know."

" Take Something Like a Star http://somethingbeautiful.typepad.com/blog/2004/10/robert_frost_to.html" (1949)
General sources
Contexto: O Star (the fairest one in sight)
We grant your loftiness the right
To some obscurity of cloud —
It will not do to say of night,
Since dark is what brings out your light.
Some mystery becomes the proud.
But to be wholly taciturn
In your reserve is not allowed.
Say something to us that we can learn
By heart and when alone repeat.
Say something! And it says "I burn."

Originally delivered at a poetry reading at Princeton University (26 October 1937), published in Collected Poems, Prose & Plays (1995)
General sources
Contexto: When I see young men doing so wonderfully well in athletics, I don’t feel angry at them. I feel jealous of them. I wish that some of my boys in writing would do the same thing. … You must have form — performance. The thing itself is indescribable, but it is felt like athletic form. To have form, feel form in sports — and by analogy feel form in verse. One works and waits for form in both. As I said, the person who spends his time criticizing the play around him will never write poetry. He will write criticism — for the New Republic.

Home Burial (1915)
Contexto: A man must partly give up being a man
With womenfolk. We could have some arrangement
By which I'd bind myself to keep hands off
Anything special you're a-mind to name.
Though I don't like such things 'twixt those that love.
Two that don't love can't live together without them.
But two that do can't live together with them."
She moved the latch a little. "Don't — don't go.
Don't carry it to someone else this time.
Tell me about it if it's something human.
Let me into your grief. I'm not so much
Unlike other folks as your standing there
Apart would make me out. Give me my chance.

The Figure a Poem Makes (1939)
Contexto: Scholars and artists thrown together are often annoyed at the puzzle of where they differ. Both work from knowledge; but I suspect they differ most importantly in the way their knowledge is come by. Scholars get theirs with conscientious thoroughness along projected lines of logic; poets theirs cavalierly and as it happens in and out of books. They stick to nothing deliberately, but let what will stick to them like burrs where they walk in the fields.

Letter to Sydney Cox (3 January 1937), quoted in Robert Frost : The Trial By Existence (1960) by Elizabeth Shepley Sergeant, p. 351, and Robert Frost and Sidney Cox: Forty Years of Friendship (1981) by William Richard Evans, p. 223
General sources
Contexto: Talking is a hydrant in the yard and writing is a faucet upstairs in the house. Opening the first takes all the pressure off the second. My mouth is sealed for the duration of my stay here. I'm not even going to write letters around to explain to collectors my not having had any Christmas card this year. I'm not going to explain anything personal any more.

Dedication (1960)
Contexto: Everyone knows the glory of the twain
Who gave America the aeroplane
To ride the whirlwind and the hurricane.
Some poor fool has been saying in his heart
Glory is out of date in life and art.
Our venture in revolution and outlawry
Has justified itself in freedom's story
Right down to now in glory upon glory.

Directive (1947)
Contexto: Back out of all this now too much for us,
Back in a time made simple by the loss
Of detail, burned, dissolved, and broken off
Like graveyard marble sculpture in the weather,
There is a house that is no more a house
Upon a farm that is no more a farm
And in a town that is no more a town.
The road there, if you'll let a guide direct you
Who only has at heart your getting lost,
May seem as if it should have been a quarry –
Great monolithic knees the former town
Long since gave up pretense of keeping covered.
And there's a story in a book about it…

The Oven Bird (1916)
Contexto: There is a singer everyone has heard,
Loud, a mid-summer and a mid-wood bird,
Who makes the solid tree trunks sound again.
He says that leaves are old and that for flowers
Mid-summer is to spring as one to ten.
He says the early petal-fall is past
When pear and cherry bloom went down in showers
On sunny days a moment overcast;
And comes that other fall we name the fall.
He says the highway dust is over all.
The bird would cease and be as other birds
But that he knows in singing not to sing.
The question that he frames in all but words
Is what to make of a diminished thing.

The Figure a Poem Makes (1939)
Contexto: No tears in the writer, no tears in the reader. No surprise for the writer, no surprise for the reader. For me the initial delight is in the surprise of remembering something I didn't know I knew. I am in a place, in a situation, as if I had materialized from cloud or risen out of the ground. There is a glad recognition of the long lost and the rest follows. Step by step the wonder of unexpected supply keeps growing. The impressions most useful to my purpose seem always those I was unaware of and so made no note of at the time when taken, and the conclusion is come to that like giants we are always hurling experience ahead of us to pave the future with against the day when we may Want to strike a line of purpose across it for somewhere. The line will have the more charm for not being mechanically straight. We enjoy the straight crookedness of a good walking stick. Modern instruments of precision are being used to make things crooked as if by eye and hand in the old days.

" Acquainted with the Night http://www.ketzle.com/frost/acquainted.htm" (1928)
General sources
Contexto: One luminary clock against the sky
Proclaimed the time was neither wrong nor right.
I have been one acquainted with the night.

Quoted in Fire and Ice: The Art and Thought of Robert Frost (1961) by Lawrence Thompson
1960s

As quoted in The New Speaker's Treasury of Wit and Wisdom (1958) edited by Herbert Victor Prochnow
As quoted at page 212 in The Pocket Book of Quips and Quotes http://books.google.de/books?id=jcIWpJdFBkEC&pg=PA212&dq=The+world+is+full+of+willing+people,+some+willing+to+work,+the+rest+willing+to+let+them.&hl=de&sa=X&ei=R9LOUe3UL8mctAbO0oDQCg&ved=0CGwQ6AEwCDgK#v=onepage&q=The%20world%20is%20full%20of%20willing%20people%2C%20some%20willing%20to%20work%2C%20the%20rest%20willing%20to%20let%20them.&f=false (1996) by Rajendra Pillai, Copyright 1996 The Saint Paul Society Bombay, 2nd Print 1999
1950s