Stopping by Woods on a Snowy Evening
By Robert Frost
Whose woods these are I think I know.
His house is in the village though;
He will not see me stopping here
To watch his woods fill up with snow.
My little horse must think it queer
To stop without a farmhouse near
Between the woods and frozen lake
The darkest evening of the year.
He gives his harness bells a shake
To ask if there is some mistake.
The only other sound’s the sweep
Of easy wind and downy flake.
The woods are lovely, dark and deep,
But I have promises to keep,
And miles to go before I sleep,
And miles to go before I sleep.
Have been beginning my mornings by reading a poem from The 100 Best Poems of All Time, a lovely collection of classics my grandmother gave me years ago. Today, read Robert Frost’s “Stopping By Woods on a Snowy Evening.” Never been a big lover of Frost: his poems are too monosyllabic, too simple; I much prefer the lyricism of a Plath or Fitzgerald. But just so I don’t spent hours debating which poem to read, I turn to a random page and let the fates decide; today, I landed on page 129, Robert Frost’s classic. I had read this poem once before with a student but my memory was muddled. Reading it again today, I felt the familiar frustration of encountering Frost: the poem seems like the retelling of a man’s brief stop in the woods, nothing more. I feel the same way reading Hemingway. Though I can appreciate the groundbreaking cultural significance of Hemingway’s lean, athletic style, I myself am a traditionalist: a prefer writing to be poetic, lavish, adorned.
But in a way, simplicity is genius: though a piece by Hemingway or Frost may seem forthright and straight-forward, their simplicity usually conceals a far more complex machinery operating underneath. Take Frost’s “Stopping by the Woods on a Snowy Evening” as an example. Reading it a couple of minutes ago, the poem seemed like an uncomplicated story about a man pausing to admire the beauty of a dark wood; however, upon closer examination, deeper themes revealed themselves.
If we investigate the rather plain title, we notice that the poem’s name immediately situates us in time and place: in the woods on a snowy evening. Taken alone, this doesn’t seem noteworthy; however, if we look closer, we’ll notice Frost doesn’t set his poem on any evening but a “snowy” one. Snow, and more generally the bleakness of a cold winter, universally represents death just as spring points to rejuvenation and renewal.
Though Frost’s poem presents itself as an accessible series of events-a man who craves to escape from the responsibilities of his ordinary life finds peace in a nearby wood-some scholars have theorized this poem carries a more sinister meaning and that the speaker is actually contemplating suicide and meditating on the nature of death. Such a reading finds support in several instances of the text: in the last stanza, for example, the speaker seems hypnotized by the enchanting forest, calling the woods “lovely, dark and deep” (Frost 13). The woods-like death- are made “lovely” by the very fact that they’re “dark” and “deep”, or removed from the commotion of civilization. Throughout the poem, our speaker longs for the quiet peace only death can offer, using soft, lulling words like “easy” and “downy” to describe the sounds of the restful wood beyond the lake.
However in the next line, the contrasting conjunction “but” indicates his affair with the snowy night is only temporary. No matter how enticing it may be to give up and surrender to the tranquility of death, the speaker realizes he has “promises to keep” and “miles to go” before he can metaphorically slumber. The repetition of “and miles” in the final two lines hints at the distance he still has to travel before he can meet death. Such an ending suggests our speaker has had an epiphany of sorts: though life can be disappointing, our speaker realizes the escapism embodied by suicide is ultimately irresponsible.