Are Robert Frost's poems romanticism or realism?

Question

I have been tryin to do these journals for my ap english class and i need to say whether these poems we had to read by Robert Frost are romanticism or realism but the problem is i can see elements of both genres in these poems so if anyone could just tell me what genre these poems belong in i would most appreciate it.
the poems are:
Out, Out
Stopping by the Woods
Birches
Mending Wall
Nothing Gold Can Stay

Answer 1

romanticism amd modernism

FROST AS A PRACTICAL CRITIC

"Each poem clarifies something. But then you've got to do it again. You can't get clarified to stay so: let
you not think that. In a way, it's like nothing more than blowing smoke rings. Making little poems
encourages a man to see that there is shapeliness in the world. A poem is an arrest of disorder ."

Robert Frost, quoted in an interview by John Ciardi, published in the Saturday Review, March 21, 1959.

When we turn to Frost's practical criticism, our first impression is likely to be one of surprise at how
low-keyed it is. There is, moreover, something curiously superficial about his literary judgments.
Certainly this is due in part to the informality of his letter style, partly to certain difficulties in his
personality, and very largely to the fact that he was not particularly interested in practical criticism. In
looking at this aspect of Frost's literary mind, we are limited by the available evidence. Not all his letters
have been published and almost none of his lectures, which would seem to be an important primary
source. Any assessment, therefore, will have to change, as new material becomes public. But in the
material that is at present available, Frost's criticism covers three distinct areas: judgments about his own
poetry, about the poetry of his contemporaries, and about the poetry of the past.
Unfortunately there is far too little record of Frost's comments on his own poetry. His criticism here is
restricted mostly to his early work, and is almost wholly concerned with technique. The same diffidence
that kept him from commenting on his major contemporaries also kept him out of controversy over his
own poetry. "I have written to keep the over curious out of the secret places of my mind both in my
verse and in my letters to such as you," he wrote to Sidney Cox. (1) Or perhaps the reason for a lack of
self-analysis was simply that, since a poem had been an act of clarification for him, it did not bear
further clarification; he was usually sure about what he had written. There is barely restrained
impatience in the tone of his letter to Leonidas W. Payne Jr ., chairman of the English Department at the
University of Texas, when Payne, with misguided good will, sent Frost a list of "errors" found in his
Collected Poems. There is no room for self-doubt here; he was not to be misled by standards of
"school-girl English."

Most of Frost's self-criticism, probably because it deals with the early poetry, is directed at his major
preoccupations at that time - sound, and tones of voice. In a conversation with Louis Mertins, he talks of
the problem of diction:
When I first began to write poetry - before the illumination of what possibilities there are in
the sound of sense came to me - I was writing largely, though not exclusively, after the
pattern of the past. For every poet begins that way - following some pattern, or group of
patterns. It is only when he has outgrown the pattern, and sees clearly for himself his own
way that he has really started to become. You may go back to all those early poems of mine
in A Boy's Will, and some that are left out of it. You will find me there using the traditional
cliches. Even "Into My Own" has an ''as't were." In "Stars" there is a line "O'er the tumultuous
snow"; while in my very first poem "My Butterfly ," I was even guilty of "theeing" and
"thouing," a crime I have not committed since.
But this is mostly hindsight. He expresses less consciousness of words as cliches, and more concern for
the relation of sound to logic in the following 1894 letter to Susan Hayes Ward about the first poem ("My
Butterfly") that she accepted for The Independent.


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Answer 2

Realism Poems By Robert Frost

Answer 3

The Bearer of Evil Tidings The bearer of evil tidings, When he was halfway there, Remembered that evil tidings Were a dangerous thing to bear. So when he came to the parting Where one road led to the throne And one went off to the mountains And into the wild unknown, He took the one to the mountains. He ran through the Vale of Cashmere, He ran through the rhodendrons, Till he came to the land of Pamir. And there in a precipice valley A girl of his age he met Took him home to her bower Or he might be running yet. She taught him the tribe's religion: How, ages and ages since, A princess en route from China To marry a Persian prince Had been found with child; and her army Had come to a troubled halt. And though a god was the father And nobody else was at fault, It had seemed discreet to remain there And neither go on nor go back. So they stayed and declared a village There in the land of the Yak. And the child that came of the princess Established a royal line, And his mandates were given heed to Because he was born divine. And that was why there were people On one Himalayan shelf: And the bearer of evil tidings Decided to stay there himself. At least he had this in common With the race he chose to adopt: They had both of them had their reasons For stopping where they had stopped. As for his evil tidings, Belshazzar's overthrow, Why hurry to tell Belshazzar What soon enough he would know?

Answer 4

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I love that one, too! It is an awesome poem. I love it! You'd think it was everyone's favorite poem, don't you?

Answer 5

if you see elements of both why don't you write that?