With the exception of "The Road Not Taken," "Stopping by Woods on a Snowy Evening" is probably Frost's best-known poem. As with many well-known poems, we may feel that familiarity equals understanding or that a poem we have read or heard enough times can't surprise us anymore. This is especially the case with "Stopping by Woods," which is not only one of the most popular American poems, but is also one written in a clear and seemingly direct style. We might even say that we like the poem precisely because of its simplicity and effortless feel. But as with a person we've been-acquainted with for a long time but don't really know, a familiar poem may change when we encounter it in unfamiliar circumstances. Where once we saw only surface and clearly defined qualities, suddenly we see depths and ambiguity. For this to happen with a poem, we often only need to stop and reflect on our experience, like the speaker in Frost's poem. One of the messages of "Stopping by Woods" seems to be just that—pausing and reflecting on experience help us re-enter life with a new understanding and sense of direction.
The plot of "Stopping by Woods" is straightforward: a man (we assume) narrates his experience of driving some sort of horse-drawn vehicle by privately owned woods on a snowy evening. He stops, and then contemplates how strange his halt must seem to the horse, given that it is cold and dark and there is no farmhouse in sight. The horse shakes his harness bell, an action that the man interprets as the animal asking "if there is some mistake." The man then listens to the wind and the snow and ends his account with some remarks on his experience, his responsibilities to the world, and the distance he needs to travel before he sleeps. The story could easily be true—it certainly aims to be "true to life"—but it is hard not to interpret it symbolically. Many readers over the years have felt that the man's journey toward sleep represents life's "journey" toward death, though Frost himself insisted that the last two lines were not an invocation of death. Another popular way of reading the poem is to understand the man's rejection of the woods as an acceptance of social duty and personal responsibility.
But "Stopping by Woods" is a much stranger poem than may appear at first. From the opening lines, we know that the story is being told from the speaker's point of view ("Whose woods these are I think I know"), but we may never bother to consider whom the man is addressing. The addressee of the poem can only be the man himself, who seems to be narrating the events as they occur to him, or thinking "aloud" to himself. This odd, subjective perspective is worth puzzling over, if only because it allows us to see just how self-conscious the man is. Why is he so concerned about being seen stopping by the woods? Is it simply because he fears he will be accused of trespassing on someone else's property? Perhaps he feels guilty that he has temporarily suspended his business and does not wish to be seen or see himself as someone who shirks responsibility. Or it could be that he feels guilty for indulging in a fantasy, for he is attracted to something he feels he should resist. It is hard to say what the woods represent for the man—rest, death, nature, beauty, solitude, oblivion—but it is clear that he feels he should not allow himself to give in to his desire to stay there. There is moreover a sexual dimension to his fantasy: the feminine woods ("lovely, dark and deep") are set against a world of men where promises must be kept—the world of property and business.
Whatever depths "Stopping by Woods" possesses, it gives us the impression of simplicity. How does the poem manage this? Most obviously, its language remains conversational throughout and it generally avoids twisting around the word order of spoken speech. "Stopping by Woods" also contains only one word with more than two syllables. When the poem does alter the expected word order, as in "Whose woods these are I think I know," the sound and the sense of the line help us forget that there is anything odd going on. We don't feel the line should read "I think I know whose woods these are" because we get the sense that the speaker is expressing the thought as it occurs to him: he is especially concerned with remembering who owns the woods, and he expresses his uncertainty by following his first thought with the phrase "I think I know." The insistent rhythms of the poem—every line except one is exceptionally regular in beating out "ta-dum, ta-dum, ta-dum, ta-dum"—and the frequent rhymes add to the illusion of simplicity. Caught in the flow of the poem, we tend not to notice that the lines "Between the woods and frozen lake / The darkest evening of the year" neither follow logically from the lines that come before them nor form a complete sentence on their own. Once again, we might feel that we are listening to...
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Robert Frost revealed his favorite poem to me. Furthermore, he gave me a glimpse into his personal life that exposed the mettle of the man. I cherish the memory of that conversation, and vividly recall his description of the circumstances leading to the composition of his favorite work.
We were in my hometown—Brunswick, Maine. It was the fall of 1947, and Bowdoin College was presenting its annual literary institute for students and the public. Mr. Frost had lectured there the previous season; and being well received, he was invited for a return engagement. I attended the great poet's prior lecture and wasn't about to miss his encore—even though I was quartered 110 miles north at the University of Maine. At the appointed time, I was seated and eagerly awaiting his entrance—armed with a book of his poems and unaware of what was about to occur. He came on strong with a simple eloquence that blended with his stature, bushy white hair, matching eyebrows, and well-seasoned features. His topics ranged from meter to the meticulous selection of a word and its varying interpretations. He then read a few of his poems to accentuate his message.
At the conclusion of the presentation, Mr. Frost asked if anyone had questions. I promptly raised my hand. There were three other questioners, and their inquiries were answered before he acknowledged me. I asked, "Mr. Frost, what is your favorite poem?" He quickly replied, "They're all my favorites. It's difficult to single out one over another!"
"But, Mr. Frost," I persisted, "surely there must be one or two of your poems which have a special meaning to you—that recall some incident perhaps." He then astonished me by declaring the session concluded; whereupon, he turned to me and said, "Young man, you may come up to the podium if you like." I was there in an instant.
We were alone except for one man who was serving as Mr. Frost's host. He remained in the background shadows of the stage. The poet leaned casually against the lectern—beckoning me to come closer. We were side by side leaning on the lectern as he leafed the pages of the book.
"You know—in answer to your...
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