Terry Pruyne's Classes
  • Daily Agenda
  • Introduction
    • 10R: INTRODUCTION
  • The Personal Project
    • Checklist for Personal Project
    • Personal Project information Packet
    • Global Contexts >
      • Examples for the Global Context Question
    • Annotated Bibliography: Personal Project >
      • Example of an Annotated Bibliogrpahy
    • The Presentation: Personal Project
  • What is Civil Disobedience?
    • Pathos, Ethos, and Logos >
      • Pathos, Ethos, and Logos in Leter from Birmingham Jail
    • MLK: Letter from Birmingham Jail >
      • Question for "Letter From Birmingham Jail"
    • Literary Elements in "Letter from Birmingham Jail"
    • Thoreau: Where I Live and What I Live For
  • Short Story Unit
    • Science Fiction >
      • Harrison Bergeron >
        • Harrison Bergeron analysis
      • A Sound of Thunder >
        • "Sound of Thunder" analysis
      • All Summer in a Day
    • Short Story Unit: Part II >
      • Lather Research
      • Sniper: Research
      • Sniper Research Paper
    • Superman and Me by Sherman Alexie
  • This I Believe
    • This I Believe: Writing Your Personal Belief
    • This I Believe: Guidelines to Write
    • This I Believe: Philosophy of Life in Songs
    • Thoreau: Where I Live and What I Live For
  • Antigone
    • Antigone: Intro Questions
    • Letter to an Administrator >
      • Letter to an Administrator: sample letter
  • Maus
    • Maus: Chapter 1 Questions
    • Maus: Chapter 2 Questions
    • Maus: Chapter 3 Questions
    • Maus: Chapter 4 Questions
    • Maus: Chapter 5 Questions
    • Maus: Chapter 6 Questions
    • Maus: Understanding Graphic Novels >
      • Maus: Seven Types of Comic Panels
      • Maus: six Types of Transitions
      • Maus: What is Inference
      • Maus: Videos
      • Comic Book Drawings
    • Maus Project >
      • graphic novel project: Spongebob
      • graphic novel project: A Blade in the Night
      • graphic novel project: example
      • Grading the Maus Project
  • Of Mice and Men
    • Of Mice and Men: Introduction
    • Of Mice & Men: The American Dream
    • Themes in Of Mice and Men >
      • Social Consciousness
      • Lonliness in Of Mice and Men
      • The American Dream
    • Literary Elements in Of Mice and Men
    • Chapter Questions
    • Texas Uses Lenny for Execution Role Model
    • Of Mice and Men: You are a Lawyer
    • Documents: Of Mice and Men
    • courtroom
    • Evidence to Convict George
    • Evidence to Defend George
  • MLA Page Set up and Other Important Info and Links
    • Concession and Refutation
  • Poetry
    • Poetry Terms
    • Poetry: The Wind
    • Poetry: Ex-Basketball Player
    • Poetry: Shall I Compare Thee to a Summer's Day?
    • Poetry: The Whipping >
      • Point of View
      • The Whipping Resources
    • Stopping by the Woods on a Snowy Evening >
      • Frost
    • All Watched Over by Machines of Loving Grace
  • Into the Wild
    • Into the Wild: Why a Road Trip
    • Henry David Thoreau >
      • Thoreau Into the Wild Assignment
      • Thoreau in Into the Wild
      • Commencement Speech at Mount Holyoke College
    • Questions: Into the Wild (Chapters 1-6) >
      • Happiness
      • Aftermath of Into the Wild
  • MLA STYLE EXAMPLE PAPER
  • Help for Passing the Common Core Exam
    • Help for Part I of the New York State Common Core Exam
    • Help for Part II of the New York State Common Core Exam >
      • First Organizer for Part II
      • Second Organizer for Part II
      • Concession and Refutation
    • Help for Part III of the New York State Common Core Exam
    • Literary Terms: Short Definitions for the Commonly Used on New York State Exams
    • Mr. Ruth's Study Guide
  • RHETORIC & EVIDENCE-BASED CLAIMS
    • Political Cartoons
  • Additional Readings
    • Serving in Florida by Barbara Ehreneich
  • Literary Devices Through the Rolling Stones
  • Creating a Brochure
  • 10H: INTRODUCTION
  • Literary Elements
    • Literary Terms: Characterization
    • Literary Terms: Allusion
    • Literary Terms: Theme
    • Literary Elements: Imagery
    • Literary Terms: Conflict
    • Literary Terms: Irony
  • Documenting Sources (Works Cited)
The Frost reading
The most amazing thing about this work is that three of the fifteen lines (the last line repeats the previous one) are transformations from other poems. "He gives his harness bells a shake" comes from Scott's "The Rover" (in Palgrave): "He gave the bridle-reins a shake.: "The woods are lovely, dark and deep" comes from Thomas Lovell Beddoes' "The Phantom Wooer": "Our bed is lovely, dark, and sweet." The concluding "And miles to go before I sleep" comes from Keats' "Keen Fitful Gusts": "And I have many miles on foot to fare." Though these three lines are variations from other poets, Frost, writing in the tradition of English verse, makes them original and new, and integrates them perfectly into his own poem.

The theme of "Stopping by Woods"--despite Frost's disclaimer--is the temptation of death, even suicide, symbolized by the woods that are filling up with snow on the darkest evening of the year. The speaker is powerfully drawn to these woods and--like Hans Castorp in the "Snow' chapter of Mann's Magic Mountain--wants to lie down and let the snow cover and bury him. The third quatrain, with its drowsy, dream-like line: "Of easy wind and downy flake," opposes the horse's instinctive urge for home with the man's subconscious desire for death in the dark, snowy woods. The speaker says, "The woods are lovely, dark and deep," but he resists their morbid attraction.

From Robert Frost: A Biography. Copyright © 1996 by Jeffrey Meyers.


The woods are lovely, dark and deep convey the poet's sense of appreciation and attraction. The place where he stands is captivating to the core and enjoyable, wherein the traveller could forget the miseries and problems of everyday life. The scene gives the traveller the feeling that the journey can be halted now but than once he remembers the his obligations and commitments he decides to move on and resume his journey.
Like the woods it describes, the poem is lovely but entices us with dark depths—of interpretation, in this case. It stands alone and beautiful, the account of a man stopping by woods on a snowy evening, but gives us a come-hither look that begs us to load it with a full inventory of possible meanings. We protest, we make apologies, we point to the dangers of reading poetry in this way, but unlike the speaker of the poem, we cannot resist.

The last two lines are the true culprits. They make a strong claim to be the most celebrated instance of repetition in English poetry. The first “And miles to go before I sleep” stays within the boundaries of literalness set forth by the rest of the poem. We may suspect, as we have up to this point, that the poem implies more than it says outright, but we can’t insist on it; the poem has gone by so fast, and seemed so straightforward. Then comes the second “And miles to go before I sleep,” like a soft yet penetrating gong; it can be neither ignored nor forgotten. The sound it makes is “Ahhh.” And we must read the verses again and again and offer trenchant remarks and explain the “Ahhh” in words far inferior to the poem. For the last “miles to go” now seems like life; the last “sleep” now seems like death.

The basic conflict in the poem, resolved in the last stanza, is between an attraction toward the woods and the pull of responsibility outside of the woods. What do woods represent? Something good? Something bad? Woods are sometimes a symbol for wildness, madness, the pre-rational, the looming irrational. But these woods do not seem particularly wild. They are someone’s woods, someone’s in particular—the owner lives in the village. But that owner is in the village on this, the darkest evening of the year—so would any sensible person be. That is where the division seems to lie, between the village (or “society,” “civilization,” “duty,” “sensibility,” “responsibility”) and the woods (that which is beyond the borders of the village and all it represents). If the woods are not particularly wicked, they still possess the seed of the irrational; and they are, at night, dark—with all the varied connotations of darkness.

Part of what is irrational about the woods is their attraction. They are restful, seductive, lovely, dark, and deep—like deep sleep, like oblivion. Snow falls in downy flakes, like a blanket to lie under and be covered by. And here is where many readers hear dark undertones to this lyric. To rest too long while snow falls could be to lose one’s way, to lose the path, to freeze and die. Does this poem express a death wish, considered and then discarded? Do the woods sing a siren’s song? To be lulled to sleep could be truly dangerous. Is allowing oneself to be lulled akin to giving up the struggle of prudence and self-preservation? Or does the poem merely describe the temptation to sit and watch beauty while responsibilities are forgotten—to succumb to a mood for a while?

The woods sit on the edge of civilization; one way or another, they draw the speaker away from it (and its promises, its good sense). “Society” would condemn stopping here in the dark, in the snow—it is ill advised. The speaker ascribes society’s reproach to the horse, which may seem, at first, a bit odd. But the horse is a domesticated part of the civilized order of things; it is the nearest thing to society’s agent at this place and time. And having the horse reprove the speaker (even if only in the speaker’s imagination) helps highlight several uniquely human features of the speaker’s dilemma. One is the regard for beauty (often flying in the face of practical concern or the survival instinct); another is the attraction to danger, the unknown, the dark mystery; and the third—perhaps related but distinct—is the possibility of the death wish, of suicide.

Not that we must return too often to that darkest interpretation of the poem. Beauty alone is a sufficient siren; a sufficient protection against her seduction is an unwillingness to give up on society despite the responsibilities it imposes. The line “And miles to go before I sleep” need not imply burden alone; perhaps the ride home will be lovely, too. Indeed, the line could be read as referring to Frost’s career as a poet, and at this time he had plenty of good poems left in him.  --Sparknotes







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