Poetry and Design by Robert Frost
Frost uses a lot of imagery and symbols in his work. This helps him convey his ideas about the nature and God. The poem Design is an example of an allegory.
The poem is written in the form of a sonnet. It has an octet of eight lines and a sestet of six lines. The rhyme scheme is Petrarchan.
I found a dimpled spider / Fat and white / On a white heal-all / Holding up a moth / Like a white piece of rigid satin cloth / Assorted characters of death and blight / Ready to begin the morning right / Like the ingredients of a witches’ broth / A snow-drop spider / A flower like a froth / And dead wings carried like a paper kite
Frost’s use of imagery, diction, and rhyme in “Design” creates a tension between light and dark, good and evil. The poem raises the question whether there is a designer of life or if everything occurs randomly.
Using a first-person speaker, the poem suggests that it is Frost himself who is seeing the strange scene of the white spider and moth on the heal all. He is shocked by the sight and questions what kind of god would design such a thing.
In the octave of the poem, Frost describes the spider, flower, and moth as “ingredients of a witches’ broth.” The use of this language implies that the greater power behind these plans is not a benevolent figure but a malicious being with the intent to tempt and destroy. This foreboding idea is further supported by the use of eerie and foreboding diction. This is a theme that is found throughout Frost’s poetry. He often explores dichotomies such as good and evil, light and darkness, and the relationship between humanity and nature.
The poem “Design” depicts a macabre scene with vivid imagery and a dark tone. It also questions the existence of a higher power. Unlike other Frost poems, this one does not provide clear answers about life and death. However, it does ask readers to consider the role of God in nature.
Frost’s use of irony is a key element of his work. The poem’s premise is that a higher power may be responsible for the actions of the spider and the moth. This is a theme that is prevalent in many of his works.
The poem follows a traditional sonnet format, with an octave of eight lines and a sestet of six lines. It uses iambic pentameter, which means it is written in five sets of two beats, called metrical feet. The first beat is unstressed, and the second is stressed. The rhythm of the poem makes it sound like dá-DUM, dá-DUM. The octave includes a turn, which occurs between the twelfth and thirteenth line.
Designers often draw inspiration from poetry in their work. By incorporating poetry into their designs, they can create pieces that transcend aesthetics and resonate with audiences on a deeper level. Robert Frost’s work provides an abundance of poetic techniques that can be used in creative ways to enhance the impact of a design.
Frost’s use of imagery and symbols in the poem is a perfect example of how these techniques can be used to convey meaning. He uses similes and metaphors to describe the spider and moth, as well as a variety of other natural elements. He also makes heavy use of alliteration, which occurs when words begin with the same sound.
The poem evokes feelings of horror and confusion by showing the grotesque nature of these creatures. The poem also questions whether God has a plan for these things, and if he does, what it is.
The poem Design by Robert Frost is a brilliant example of how the poet uses tone. By incorporating subtle changes in tone and imagery, Frost creates a work that is at once light and serious. The poem begins by playfully recounting a strange scene and then asking questions about whether the event was a coincidence or part of a larger plan.
The poem addresses a controversial debate about whether or not the natural world is governed by a moral order authored by God. Frost’s personal experiences — including the loss of his father to tuberculosis, and the commitment of his sister to mental illness — helped shape his view on this issue.
Although Frost did not belong to any formal poetic movement, he frequently turned to traditional forms and rhyme schemes. For instance, he often used anapest meter, which is quicker and lighter than iambic meter. He also used a spondee on “Two Roads,” which reinforces the equal value of each path.