Membership includes a 10% discount on all editing orders. Few poems by Frost are more perfectly and surely composed, few where the figure in the mind and in the ear are better matched. The sestet's repetitious questions ll. Again, the literal reading is complemented with ironic imagery and connotation. Pragmatically, then, the abstract word 'design' is a blank cartridge. Remember that no matter what nature may have produced or may be producing, the means must necessarily have been adequate, must have been fitted to that production. I want to say thats how he is able to make such a morose poem beautiful but I am still unsure.
This idea begins to counter all notions of God we have, that perhaps God is not really looking over our every action. Here the poet uses this to introduce us to an innocent looking deadly spider holding a moth presumably dead onto a background of life giving flower. The moth is held like a satin cloth, here the poet is using simile to make us imagine how the moth is held by the spider. What brought the kindred spider to that height, Then steered the white moth thither in the night? The heal-all is a flower with medicinal properties. Just a quick thing: God designs everything for a purpose and everything has its own season and time to go.
What had that flower to do with being white, The wayside blue and innocent heal-all? Frost's tone is deftly controlled throughout, with the poet's serious point balanced nicely by the parodic language of the first stanza. More direct indictments of a contradictory, malevolent Designer appear in several other images in the poem. And the central issue is the speaker's ability to withstand the experience of evil, an experience greatly strengthened by his own imagination. Thus Frost prepares us effectively for the ambivalent conclusion of the final couplet: what has happened bespeaks either a sinister design or, worse, the absence of design. Consider, for example, the daring use of the same end-rhymes, half the total number on a single sound. But in spider the voice betrays itself, and in fat and white the dimpled creature appears less charming.
It can also be interpreted that the speaker in the poem is promoting individualism, self reliance and wondering what he might have missed by not taking the other road. Do I use the word aright? Instead, the poem is a huge answer, questioning God, on why we are here and why he was brought to witness the strange occurance of those white creatures. Fear lurks beneath the surface of a poem like this, certainly: but, in other poems, Frost's playfulness, his willingness to entertain all kinds of doubts and possibilities leads him in the contrary direction -- not to transcendence of facts, perhaps, but to a wondering, joyful apprehension of their potential, to the sense that nature might after all be whispering secret, sympathetic messages to us. Both the first published version of the poem 1922 and the manuscript version 1912 are in sonnet form. Bewilderment and shock are intermixed with lyrical, almost whimsical, lines. From version to version Frost worked to clarify his idea that the philosophical argument from design was endemically ironic. In the case of the flower, it is the perception of the speaker that is called into question.
What brought the kindred spider to that height Make we no thesis of the miller's plight. Frost uses this tone to keep the poem neutral as he uses imagery and symbolism to bring about his point. A satin cloth is very smooth and light weighted, hence it flutters in air very much. What but design of darkness to appall? The white spider is camouflaged by the white heal-all, and the white moth is attracted to the white flower, like any other moth would be attracted to a light and the white moth is attacked and killed by the white spider. I believe that a little expalaination of this is needed. But, in the best known of the dark prototypical poems, Frost confronts nature on a much more local scale-indeed, the poem hinges on the diminutiveness of the natural emblemand still reads in it one of his most chilling lessons.
What but design of darkness to appall? Design is a Petrarchan sonnet with a changed sestet. The manifested world, in this case the spider, moth and flower, reveal only so much to the speaker who is left with nothing but questions. And Frost is delighting in the way he can wring an unexpected turn of meaning from the Classical argument from design. Only the anthropomorphizing mind would dispute whether the flower was an innocent bystander or a sinister accomplice, luring victims to the scene of the crime. His mode of questioning betrays both his sense of futility and his reluctance to admit defeat. Darwin opened our minds to the power of chance-happenings to bring forth 'fit' results if only they have time to add themselves together.
Posted on 2010-02-08 by a guest. I was analyzing this with my classmates, as we had to write an essay on the meaning. But other lines have mixed meter, which alters the stress and rhythm and creates emphasis whilst slowing down the pace: And dead wings carried like a paper kite. However, like so much in Frost's poetry, this remains only a suspicion. A satin-white moth has its charm, too, a party-going creature poised like Wordsworths butterfly on its flower; but rigid is too frozen, too easily reminiscent of rigor mortis or the stiff shining satin of a coffin. Posted on 2009-03-25 by a guest.
In a series of negatives and outraged rhetorical questions, he demands reasons for the strange combinations of existence. Your argument depends on your perception of things and happenings. Notice too the surprising and apt use of the many double and triple stresses on successive syllables, from 'White heal-all' through 'snow-drop spider' to white moth thither. A Make we no thesis of the miller's plight. Frost seems to be indicting the proponents of design as purposely overlooking or ignoring small things, such as the scene in question, when forming their arguments.
Frost's details are so diabolically good that it seems criminal to leave some unremarked; but notice how dimpled, fat, and white all but one; all but one come from our regular description of any baby; notice how the heal-all, because of its name, it the one flower in all the world picked to be the altar for this Devil's Mass; notice how holding up the moth brings something ritual and hieratic, a ghostly, ghastly formality, to this priest and its sacrificial victim; notice how terrible to the fingers, how full of the stilling rigor of death, that white piece of rigid satin cloth is. In particular, lines with a light iambic pentameter are interrupted by lines that begin with a spondaic foot before returning to either iambic or trochaic. Analysis and Themes While Frost's poetry is very traditional in form, the poet is known for his dark and modern take on universal themes such as the existence of God. And assorted characters of death and blight is, like so many things in this poem, sharply ambiguous: a mixed bunch of actors or diverse representative signs. For example: I found a dimpled spider, fat and white, The stresses come right after the non-stressed syllables so creating a kind of lilt. Or is it just all coincidence.