Robert Frost Poem; White Spider

From his expressions of nature, the utterer comes to believe that if at that place is a higher power who implements a master excogitation on the universe, then this " graphic designer" must not be a good force. As Carter (p. 23) notes of Frost's portrayal of this deity, it is an "oppressive and revengeful deity, if not an evil one?a god who would muffle a human being to isolation and vulnerability." Frost uses synecdochic language and symbolism in the poem to reflect this concern. We ar presented with a number of diverse images that c any to mind twain(prenominal) the forces of light and dark or good and evil. The white roamer, flower, and moth that is held desire "a white piece of rigid satin cloth" atomic number 18 used to portray the light, good, and natural elements of raw nature (Frost, p. 1).

scorn these images of light and goodness, Frost also provides us with numerous images of dimness and evil. In the poem we see that in that respect is "death" and "blight," and " deathly wings," in addition to the witches' broth (Frost, p. 1). Frost's speaker unit is seeing both the awesome natural beauty in nature in addition to its capacity for powerful darkness and destruction. As the speaker thinks, he wonders if there is any design at all in nature that "governs in a thing so small," or perhaps everything was created "by darkness to appall," (Frost, p. 1). It is this deliberation that causes the speaker enormous concern. He has already considered the poss

ibility that there may be a maleficent God who oppresses through purposive design. Now he imagines that there may not be any design or Designer at all, just a random and meaningless universe. harmonize to Jerek Huzzard (p. 27) this is an even worse scenario to the speaker, "Horror is increased when the possibility of normal meaninglessness is raised: no design is worse, even, than malevolent design.

" terrible as the dark forces that appear to control the moth and spider cogency be, random forces generating such darkness is an even more affright concept to the speaker.

While the above and many another literary critic maintains Frost's poem is grim in tone, Patrick F. Bassett sees the work differently. In his critique of Frost's poem he believes that "The speaker assumes a purposeful intention of communication on the part of God" (Perrine, p. 16). Bassett makes this offer because he sees the events of the poem, particularly the whiteness of the spider, moth, and flower, as too much(prenominal) of a coincidence to be purely random. This reading is not true to the contents of the poem. In the first place, the speaker is not engaging in any form of communication. He is observe an action or event in nature. Second, the speaker earlier does not become appalled by his imagination that there may be a design but or else over the quite real and frightening image that there may be utterly no design at all. In fact, the speaker can only imagine from his observation of the devouring of an innocent moth by a wily spider that only
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