I began this blog almost three years ago, January 2, 2009, and I’m pleased that so many people have visited me to read what I have to say. My subjects have jumped all over the place, from personal thoughts and experiences to local, state, national, and international news. And my audience has been surprisingly diverse. I’ve had, for example, 394 page views from readers in Russia. How they stumbled onto my blog I can’t figure out, but to those readers I say, “spasibo, spasibo.” My heartfelt thanks. And to all the other readers from around the world I also say “thank you, thank you.” Another surprise is the number of times people have gone to a blog I wrote on September 25 of this year, a blog on poetic forms, particularly the sonnet. There have been 51 visitors to that blog. I wouldn’t have thought there’d be anywhere near that number of people interested in such a minor subject as the sonnet form. To those who might be interested, on March 6, 2010, I also wrote about that fun form, the limerick, and on March 7, the double-dactyl, rondelet, and cinquain.
And now I’m going to talk about Robert Frost and his use of traditional forms. Frost, in the midst of poetic rebellion against tradition in the early 20th century, stuck to his guns and remained a traditionalist. Possibly the only thing non-traditional about his poetry is his use of common language instead of traditional poetic diction (“thee” and “thou” and “whither,” etc.) He wrote thirty-seven sonnets, he wrote many poems in blank verse, and he even did a cute little thing with rhyme in one of his best-known poems, “Stopping by Woods on a Snowy Evening.” This last is especially appropriate because in just two days, the darkest evening of the year will be upon us. First, a few sonnets:
More on Frost tomorrow.