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Robert Frost, "Design"

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Philosophy and the Poem

The argument that design in the universe proves the existence of God has been a major philosophical theme since the time of Thomas Aquinas. In 1912, when Frost first composed this poem, he was teaching William James at the Plymouth Normal School in New Hampshire. He was particularly fond of James's books on psychology and pragmatism. The most likely source for the poem (the first version), then, was William James's thoughts about "design" in Lecture Three of Pragmatism (Start one paragraph above: "Let me pass . . ." Finish at the paragraph beginning "Pragmatically, then, the abstract word 'design' . . ."). Write a paper about how you would interpret the poem in light of James's ideas and the "argument from design."

Frost wrote other poems which are philosophically similar to "Design": "Directive" and "Desert Places." Locate one of those poems in a collection of Frost's poems and compare it to "Design."

Revision and Meaning

Frost sent the first version of "Design" in a letter to Susan Hayes Ward (dated Jan. 15, 1912) and called it "[A Study] In White."

Look at some of the significant changes that he made in 1922, when "Design" was published, and consider how they changed and improved the poem. (Note: miller in line 12 refers to a miller-moth.)

A dented spider like a snowdrop white
On a white Heal-all, holding up a moth
Like a white piece of lifeless satin cloth—
Saw ever curious eye so strange a sight?
Portent in little, assorted death and blight
Like the ingredients of a witches broth?
The beady spider, the flower like a froth,
And the moth carried like a paper kite.

What had that flower to do with being white,
The blue Prunella every child's delight?
What brought the kindred spider to that height?
(Make we no thesis of the miller's plight.)
What but design of darkness and of night?
Design, design! Do I use the word aright?

Tone and Voice in Frost's Poems

As is often true of Frost's poems, the tone of the speaker's voice is important to the meaning. You need to decide whether the voice is somber and serious, playful, or lightly mocking, for example. Which words are being accented or drawn out? Fortunately, we do have more clues than with most poets, because there are many recordings of Frost's poems, recorded by Harper Audio. Listen to some poems which are online or find a recording (these are in many libraries) and, if possible, listen to "Design." Then describe the voice that you "hear" in "Design" and how the meaning might change according to differences in tone of voice.

The Poem and Its Readers

As you may have already noted, "Design" can be read and interpreted in different ways. First formulate your own ideas about the poem. Then read what other readers have said. Several critical interpretations are presented in excerpts on the Modern Poetry Site. For a more general perspective, read Jay Parini's article about Frost's poetry: "The Art of Reading Robert Frost: A Biographer's Confession." Have your ideas been modified or expanded? Write about this process.

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