Design
By Robert Frost
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
Mixed 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.What had that flower to do with being white
The wayside blue and innocent heal-all?
What brought the kindred spider to that height
Then steered the white moth thither in the night?
What but design of darkness to appall?
If design governs such a small thing.
Summary of Design
Design is a tightly constructed English sonnet by Robert Frost, published in 1922. The poem gained prominence for its philosophical questioning of fate and determinism, presented through deceptively simple language. Frost masterfully lures the reader in with accessible imagery before subtly unveiling a complex argument about the underlying order—or seeming order—of the universe. The poem’s enduring appeal lies in its ability to present a profound and unsettling idea within a framework of beautiful, almost pastoral, observation.
The poem depicts a speaker encountering a scene of predation—a white spider catching a white moth on a white flower. This seemingly random event prompts the speaker to contemplate whether such occurrences are merely chance, or if they are governed by a deliberate “design.” The speaker’s questioning explores the themes of fate, the nature of good and evil, and the possibility that even seemingly innocent aspects of nature are part of a larger, potentially unsettling, order. Ultimately, the poem does not offer answers, but rather emphasizes the mystery and the unsettling possibility of a predetermined universe.
Analysis of Literary Devices Used in Design
Robert Frost skillfully employs a range of literary devices to elevate the impact of Design. These devices work together to create a poem that is both visually evocative and intellectually stimulating.
Assonance and Consonance
Frost’s use of sound devices like assonance and consonance contributes to the poem’s musicality and subtly emphasizes certain words and ideas. For example, the repetition of the short “i” sound in “Like a white piece of rigid satin cloth” creates a sense of delicate texture and refinement. Similarly, the consonance of “h” and “l” in “On a white heal‑all, holding up a moth” creates a soothing, almost hypnotic rhythm. These sonic echoes subtly reinforce the poem’s themes of interconnectedness and inevitability.
Imagery
“Design” is rich in vivid imagery that appeals to the reader’s senses. Phrases like “I found a dimpled spider, fat and white” and “A snow‑drop spider, a flower like a froth” create clear, memorable pictures in the mind. This imagery isn’t merely decorative; it’s essential to the poem’s argument. The stark whiteness of the spider, moth, and flower creates a sense of unsettling purity and emphasizes the predatory nature of the scene. The description of the moth’s wings “carried like a paper kite” evokes a sense of fragility and helplessness.
Metaphor and Personification
Frost uses metaphor to draw connections between seemingly disparate elements. Describing the spider and moth as “assorted characters of death and blight” elevates them beyond mere creatures and imbues them with symbolic weight. This metaphoric framing highlights the inherent drama and inevitability of the natural world. The poem also employs personification, giving the concept of “design” agency. The question “What but design of darkness to appall?” suggests that design has intentions—a capacity to cause fear or shock—further complicating the poem’s exploration of fate.
Rhetorical Question
The poem is driven forward by a series of rhetorical questions. These questions, such as “What had that flower to do with being white?” and “What brought the kindred spider to that height?”, aren’t intended to be answered. Instead, they serve to emphasize the speaker’s bewilderment and the unsettling implications of the observed scene. By posing these questions, Frost invites the reader to participate in the poem’s philosophical inquiry.
Symbolism
The poem’s imagery is deeply symbolic. The color white, traditionally associated with purity and innocence, is repeatedly used to describe the spider, moth, and flower. This creates a tension, as whiteness is juxtaposed with the predatory act of the spider. The spider itself can be seen as a symbol of fate or inevitable destruction, while the moth represents fragility and vulnerability. The flower, with its delicate beauty, symbolizes the seeming randomness of life.
Analysis of Poetic Devices Used in Design
Beyond literary devices, Design showcases a masterful command of poetic techniques. These techniques contribute to the poem’s structure, rhythm, and overall impact.
Diction
Frost’s diction is remarkably precise and controlled. He avoids overly ornate language, opting instead for clear, concise phrasing. The use of words like “dimpled,” “rigid,” and “kindred” adds a subtle layer of complexity to the poem’s imagery. The formality of the language contributes to the poem’s intellectual tone.
End Rhyme and Rhyme Scheme
“Design” is a sonnet, and as such, adheres to a strict rhyme scheme. The octave (first eight lines) follows an ABABCDCDEFEFGG pattern, mirroring the poem’s exploration of design. The use of slant rhyme (for example, “night” and “right”) adds a subtle layer of complexity and avoids predictability.
Stanza and Sonnet Form
The poem’s structure as a sonnet is crucial to its meaning. The octave presents a description of the observed scene and introduces the question of design. The sestet offers a contemplation of the implications of that scene. The sonnet form, with its inherent tension between octave and sestet, mirrors the poem’s exploration of the tension between chance and determinism.
Tone
The poem’s tone is complex and multifaceted. Initially, the tone is observational and descriptive. However, as the poem progresses, the tone shifts to one of bewilderment, questioning, and ultimately, unsettling acceptance. The tone is not didactic or preachy; rather, it invites the reader to grapple with the poem’s philosophical implications.
Quotes to be Used
The following lines encapsulate the poem’s central questioning of fate and determinism.
What brought the kindred spider to that height,
Then steered the white moth thither in the night?
What but design of darkness to appall?
If design governs such a small thing.
These lines serve as a powerful reminder of the poem’s enduring relevance and its ability to provoke contemplation about the forces that shape our lives.