Robert Frost The Poet

The "speaker" appears to be well-kn make(prenominal) with were he is once in the woods, and recognizes the circumstance for its combination of elements of the essential word-painting. As such, the poet implicitly communicates to the reader that he is no stranger to the woods; it is a world familiar to him. It is his home. The poem is not, however, anything of a "guided tour" of the forest at a incident time of the year. While he is taking the reader done the forest and indicating particular "points of interest" out to him, he is in addition giving the reader access into a portion of his own mind. Because of this creative approach to the writing of this poem, Frost makes the physical desktop of the poem something considerably more than just scenic background. Because of the finish conjunction of the setting and the thought of the poet, this setting in record becomes an

active rather than a passive part of the poem.

This natural setting, therefore, cannot be relegated too mere backdrop. Since the physical setting provides the instrument whereby the thought and idea of the poet, become translated from mental abstraction into a verbalized statement about reality, that setting becomes important in and of itself. Thus, it must be presumed that Frost utilized depictions of rural crude England so often not only because he knew the decorate and was familiar with it, but also because a it provided a hone vehicle to him for the objectification of his ideas. To better understand th

The last stanza provides clear understanding that the poet himself has been influenced by the apprehension of a thought (or series of thoughts) which has moved him very deeply. Now, instead of contemplating the saucer of the natural scene or the perplexity of his horse in this situation, the poet contemplates the heart of his revelation and its direct effect upon his bread and butter.

From the beauty of the whitened scene before him, the poet asserts his own attitude and intention: the augur of flavor ahead, and the fulfillment of his own aspirations and ambitions for that life, motivate his to move forward, to live, and to try on out the secret life has for him before he chooses conclusion: "The woods are lovely, dark and deep,/ But I select promises to keep,/ And miles to go before I sleep,/ And miles to go before I sleep." It is left up to the reader to decide for himself what passed during that wind-filled silence after the third stanza and before the fourth. Did the poet contemplate suicide? Did he maintain in the "dark and deep" forest the protection of the sound? Did he find that his own motivation and love for life dictated that he go on to fulfill his life? What did happen during that time and in that place? It is unspoken and unvoiced and always will remain so, but it is the potentiality of the meaning of that silence that the full emotion-al and intellectual meaning and power or "Stopping by Woods on a livid Evening" lies.

The third stanza provides for a further consideration of the setting by both the horse and the man. And it is in sounds that the "action" of the stanza is communicated: As time passes the horse comes no closer to a comprehension of why he is stopped or the meaning of the scene in front of him. "He gives his harness bells a card/ To ask if there is some mistake." The "shake" of his head edges that he still does not understand what is happening. Another sound, however, may demonstrate to the reader--through the senses of the poet--that the man may
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