The Poem of the True Design

From his comments of nature, the loud loudspeaker comes to believe that if on that point is a higher power who implements a master traffic pattern on the universe, then this " source" must non be a good force. As Carter (p. 23) notes of Frost's portrayal of this deity, it is an "oppressive and despiteful deity, if not an evil one?a immortal who would subordinate a human being to isolation and vulnerability." Frost uses synecdochic language and symbolism in the poem to reflect this concern. We argon presented with a number of diverse images that c any to mind both(prenominal) the forces of light and dark or good and evil. The white bird of passage, flower, and moth that is held the likes of "a white piece of rigid satin cloth" ar used to portray the light, good, and natural elements of raw nature (Frost, p. 1).

in spite of these images of light and goodness, Frost also provides us with numerous images of iniquity and evil. In the poem we see that thither is "death" and "blight," and " all in(p) wings," in addition to the witches' broth (Frost, p. 1). Frost's speaker 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 in that respect 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 whitethorn 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. harmonise to Jerek Huzzard (p. 27) this is an even worse scenario to the speaker, "Horror is increased when the possibility of comprehensive meaninglessness is raised: no design is worse, even, than malevolent design.

" dread as the dark forces that appear to control the moth and spider mogul be, random forces generating such darkness is an even more terrorisation 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 birdsong because he sees the events of the poem, particularly the whiteness of the spider, moth, and flower, as too very much 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 observing an action or event in nature. Second, the speaker generally does not become appalled by his imagination that there may be a design but sort of 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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