Robert Frost's poem "Design," appearing in the 1936 collection A Further Range, explores the complex interplay between nature and human interpretation. Written originally in 1912, the poem examines a small moment in the natural world, using it to question larger existential themes. Particularly, the poem reflects on how scientific advancements, notably those inspired by Darwin, have influenced poetic and philosophical interpretations of nature.

Imagery of "Design"

In "Design," the speaker encounters "a dimpled spider, fat and white" that has ensnared a moth on a white heal-all flower. The initial eight lines, or octave, vividly paint this scene "in white," a nod to the poem's original title. The description carries an irony; the spider and moth, initially appearing innocent, are instead "characters of death and blight/ Mixed ready to begin the morning right." The spider is likened to a snowflake, reinforcing the unsettling juxtaposition of purity and death, while the flower's name ironically suggests healing rather than destruction.

Questions and Reflections

The sestet, or final six lines, poses three questions. It inquires why the deathly scene occurs on a white flower, what orchestrates the encounter between spider and moth, and whether this occurrence signifies a malevolent design. The closing line implies another layer of inquiry: Is it reasonable to consider such a minor incident to be part of any grand design, whether benign or sinister?

Interpreting "Design"

The central crux of these questions rests on the concept of "design." Prior to Darwin’s revolutionary ideas, the Western world largely believed that nature’s processes reflected a divine and benevolent design. As Jesus observed, even a sparrow “shall not fall on the ground without your Father.” While a minority might have posited a malevolent deity or devilish influence, they still acknowledged a guiding intelligence behind natural events.

Impact of Scientific Thought

The advent of nineteenth-century science, particularly Darwinian concepts such as "natural selection," upended these traditional notions by eliminating the need for a designer. Frost’s work reflects the influence of philosopher William James, who rejected a simplistic view of divine involvement yet maintained a belief in design as a "seeing force," rather than something entirely "blind." In "Design," Frost seemingly mocks the notion of design in trivial events like the spider-moth encounter, yet he purposefully leaves the poem’s most critical questions unanswered.

Structure and Themes

The poem adheres to the structure of an Italian sonnet, with a descriptive octave followed by a contemplative sestet. The observer’s understanding of the spider’s actions is shaped by modern teachings, contrasting sharply with perceptions from earlier eras. "Design" dramatizes the challenge of sustaining a view of God and nature akin to those of previous generations while simultaneously addressing the complexities of redefining nature in a meaningful way.