Then he brings up another thought, Would a higher Design worry about the small details, such as how that spider got its meal that night? I think that Frost is trying to articulate that looks can be deceiving. Up to this point, the scientist-poet has only permitted himself the emotional shock of the elements presented for his examination and he accepts them as specimens at random. France had to be a nation and colonize Martinique. Both the first published version of the poem 1922 and the manuscript version 1912 are in sonnet form. The Designer has left free will so that we can choose to be atheistic, agnostic, or believer.
Pragmatically, then, the abstract word 'design' is a blank cartridge. Therefore, why did Frost choose to send her this particular poem? All these three things — spider, heal-all flower, and the moth are shown to be white. Nevertheless, as a part of nature, birds have a right to their song, even if it annoys or distresses human listeners. Works cited: Frost and the Book of Nature. Was the stage set perfectly by an ultimate power or was everything by chance. The meaning of white shifts from a pure, innocent and good one to that of a darker side.
With this notion Emerson started hares in New England that have run from his time well into the twentieth century. Though the repetitions in the octet can be matched in other poets, the surprise comes with the rhyme in line 9, which is picked up again in 'height' and 'night. What or better yet, whose design would force a spider to eat a fly in order to survive. The white color of the wicked flower heal-all an ironic name and the white natural born killer spider bring forth the image of an actual horror scene and the innocence ness of the white color does not matter here. Though we think of black as the color of death, nature has no such bias.
The speaker questions what dark design there is that could govern in something so small as well as in other things. This makes the poem all interesting and unique, it leaves the readers with nothing but critical thinking and a desire to figure out the whole essence of the poem. . Such mutual fitting of things diverse in origin argued design, it was held; and the designer was always treated as a man-loving deity. It reminds me of making fudge.
The second stanza is a series of questions. And the wayside blue and innocent heal-all is, down to the least sound, the last helpless, yearning, trailing-away sigh of too-precarious innocence, of a potentiality cancelled out almost before it began to exist. 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 the second part of the poem, Frost raises up philosophical questions that seemed to be unanswerable and leaves the readers to conclude upon it. Frost discusses and elaborates on 3 characters which are the ff: the spider, the moth, and the flower. That observation leads the speaker to a series of questions: Why is this flower white, when it is usually blue? Richard Gray Frost uses the rigidity of the sonnet form to present a formal philosophical problem.
Neither in the context of this poem nor in the context of Frost's whole canon, however, does the last line deny the omnipresence of design. However, like so much in Frost's poetry, this remains only a suspicion. Until a small bird, flies ahead of him and draws his attention on a decayed woodpile. What we get here is an image that combines death and blight. Vision is the end designed, light and eyes the separate means devised for its attainment. Its technical sophistication and imagistic complexity have received wide critical attention most notably from Randall Jarrell, Reuben Brower, and Richard Poirier. In my opinion, what the poet wants to emphasize is the fact that the Designer cannot be reached by the human mind.
The reader is carried along by a smooth, hypnotising rhythm, which can lull one into superficial, careless reading. His direct and easy to read poems make him one of the most recognized poets in the country. The drama and beauty of nature applies to creatures of all colors. None of these three elements is normally white, which gives each of them an abstract eeriness. It was abroad that Frost met and was influenced by such contemporary British poets as , , and. 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. The poem certainly calls into question the existance of a god.
In the first stanza, the speaker seems to be addressing the reader, telling the story. What had that flower to do with being white, The wayside blue and innocent heal-all? Copyright © 1993 by Columbia University Press. All of them have the same depiction of color, which is white, that suggests innocence or purity. This suggests that there is no definitive black and white answer to the questions of design or no design? What is the 'design' behind all this, he asks. For the parts of things must always make some definite resultant, be it chaotic or harmonious.