Essay on Setting in Stopping by Woods on a Snowy Evening :: Stopping Woods Snowy Evening

Importance of Setting in Stopping by Woods on a Snowy Evening The season is winter, the time is night, but, . . .the scene, we are reminded four times over, is a wood. Woods, especially when as here they are "lovely, dark and deep," are much more seductive to Frost than is an open field. In fact, the woods are not merely "lovely, dark, and deep." Rather, as Frost states it, they are "lovely, [i.e.] dark and deep"; the loveliness thereby partakes of the depth and darkness which make the woods so ominous. The recognition of the power of nature, especially of snow, to obliterate the limits and boundaries of things and of his own being is, in large part, a function here of some furtive impulse toward extinction, an impulse no more predominate in Frost than it is in nature. It is in him, nonetheless, anxious to be acknowledged, and it significantly qualifies any tendency he might have to become a poet whose descriptive powers, however botanically or otherwise accurate, would be used to deny the mysterious blurrings of time and place which occur w henever he finds himself somehow participating in the inhuman transformations of the natural world. That need is in many ways the subject of "Stopping by Woods on a Snowy Evening." As its opening words suggest--"Whose woods these are I think I know"--it is a poem concerned with ownership and also with someone who cannot be or does not choose to be very emphatic even about owning himself. He does not want or expect to be seen. And his reason, aside from being on someone else's property, is that it would apparently be out of character for him to be there, communing alone with a woods fast filling up with snow. He is, after all, a man of business who has promised his time, his future to other people. It would appear that he is not only a scheduled man but a fairly convivial one. He knows who owns which parcels of land, or thinks he does, and his language has a sort of pleasant neighborliness, as in the phrase "stopping by." It is no wonder that his little horse would think his actions "queer" or that he would let the horse, instead of himself, take responsibility for the j udgment. He is in danger of losing himself; and his language by the end of the third stanza begins to carry hints of a seductive luxuriousness unlike anything preceding it--"Easy wind and downy flake .