HOW TO READ A POEM

There’s really only one reason that poetry has gotten a reputation for being so darned “difficult”: it
demands your full attention and won’t settle for less. Unlike a novel, where you can drift in and out and
still follow the plot, poems are generally shorter and more intense, with less of a conventional story to
follow. If you don’t make room for the experience, you probably won’t have one.

But the rewards can be high. To make an analogy with rock and roll, it’s the difference between a two and
a half minute pop song with a hook that you get sick of after the third listen, and a slow-building tour de
force that sounds fresh and different every time you hear it. Once you’ve gotten a taste of the really rich
stuff, you just want to listen to it over and over again and figure out: how’d they do that?

Aside from its demands on your attention, there’s nothing too tricky about reading a poem. Like anything,
it’s a matter of practice. But in case you haven’t read much (or any) poetry before, we’ve put together a
short list of tips that will make it a whole lot more enjoyable.

 Follow Your Ears. It’s okay to ask, “What does it mean?” when reading a poem. But it’s even
better to ask, “How does it sound?” If all else fails, treat it like a song. Even if you can’t
understand a single thing about a poem’s “subject” or “theme,” you can always say something –
anything – about the sound of the words. Does the poem move fast or slow? Does it sound
awkward in sections or does it have an even flow? Do certain words stick out more than others?
Trust your inner ear: if the poem sounds strange, it doesn’t mean you’re reading it wrong. In fact,
you probably just discovered one of the poem’s secret tricks! If you get stuck at any point, just
look for Shmoop’s “Sound Check” section. We’ll help you listen!
 Read It Aloud. OK, we’re not saying you have to shout it from the rooftops. If you’re
embarrassed and want to lock yourself in the attic and read the poem in the faintest whisper
possible, go ahead. Do whatever it takes, because reading even part of poem aloud can totally
change your perspective on how it works.
 Become an Archaeologist. When you’ve drunk in the poem enough times, experiencing the
sound and images found there, it is sometimes fun to switch gears and to become an archaeologist
(you know -- someone who digs up the past and uncovers layers of history). Treat the poem like a
room you have just entered. Perhaps it’s a strange room that you’ve never seen before, filled with
objects or people that you don’t really recognize. Maybe you feel a bit like Alice in Wonderland.
Assume your role as an archaeologist and take some measurements. What’s the weather like? Are
 there people there? What kind of objects do you find? Are there more verbs than adjectives? Do
you detect a rhythm? Can you hear music? Is there furniture? Are there portraits of past poets on
the walls? Are there traces of other poems or historical references to be found? Check out
Shmoop’s “Setting,” “Symbols, Imagery, Wordplay,” and “Speaker” sections to help you get
started.
 Don’t Skim. Unlike the newspaper or a textbook, the point of poetry isn’t to cram information
into your brain. We can’t repeat it enough: poetry is an experience. If you don’t have the patience
to get through a long poem, no worries, just start with a really short poem. Understanding poetry
is like getting a suntan: you have to let it sink in. When you glance at Shmoop’s “Detailed
Summary,” you’ll see just how loaded each line of poetry can be.
 Memorize! “Memorize” is such a scary word, isn’t it? It reminds us of multiplication tables.
Maybe we should have said: “Tuck the poem into your snuggly memory-space.” Or maybe not.
At any rate, don’t tax yourself: if you memorize one or two lines of a poem, or even just a single
cool-sounding phrase, it will start to work on you in ways you didn’t know possible. You’ll be
walking through the mall one day, and all of a sudden, you’ll shout, “I get it!” Just not too loud,
or you’ll get mall security on your case.
 Be Patient. You can’t really understand a poem that you’ve only read once. You just can’t. So if
you don’t get it, set the poem aside and come back to it later. And by “later” we mean days,
months, or even years. Don’t rush it. It’s a much bigger accomplishment to actuallyenjoy a poem
than it is to be able to explain every line of it. Treat the first reading as an investment – your
effort might not pay off until well into the future, but when it does, it will totally be worth it.
Trust us.
 Read in Crazy Places. Just like music, the experience of poetry changes depending on your
mood and the environment. Read in as many different places as possible: at the beach, on a
mountain, in the subway. Sometimes all it takes is a change of scenery for a poem to really come
alive.
 Think Like a Poet. Here’s a fun exercise. Go through the poem one line at a time, covering up
the next line with your hand so you can’t see it. Put yourself in the poet’s shoes: If I had to write a
line to come after this line, what would I put? If you start to think like this, you’ll be able to
appreciate all the different choices that go into making a poem. It can also be pretty humbling – at
least we think so. Shmoop’s “Calling Card” section will help you become acquainted with a
poet’s particular, unique style. Soon, you’ll be able to decipher a T.S. Elliot poem from a Wallace
Stevens poem, sight unseen. Everyone will be so jealous.
  “Look Who’s Talking.” Ask the most basic questions possible of the poem. Two of the most
important are: “Who’s talking?” and “Who are they talking to?” If it’s a Shakespeare sonnet,
don’t just assume that the speaker is Shakespeare. The speaker of every poem is kind of fictional
creation, and so is the audience. Ask yourself: what would it be like to meet this person? What
would they look like? What’s their “deal,” anyway? Shmoop will help you get to know a poem’s
speaker through the “Speaker” section found in each study guide.
 And, most importantly, Never Be Intimidated. Regardless of what your experience with poetry
in the classroom has been, no poet wants to make his or her audience feel stupid. It’s just not
good business, if you know what we mean. Sure, there might be tricky parts, but it’s not like
you’re trying to unlock the secrets of the universe. Heck, if you want to ignore the “meaning”
entirely, then go ahead. Why not? If you’re still feeling a little timid, let Shmoop’s “Why Should
I Care” section help you realize just how much you have to bring to the poetry table.

Poetry is about freedom and exposing yourself to new things. In fact, if you find yourself stuck in a poem,
just remember that the poet, 9 times out of 10, was a bit of a rebel and was trying to make his friends look
at life in a completely different way. Find your inner rebel too. There isn’t a single poem out there that’s
“too difficult” to try out – right now, today. So hop to it. As you’ll discover here at Shmoop, there’s
plenty to choose from.
 ROBERT FROST

Robert Frost: Poems Themes

Nature
Frost places a great deal of importance on Nature in all of his collections. Because of the time he spent in
New England, the majority of pastoral scenes that he describes are inspired by specific locations in New
England. However, Frost does not limit himself to stereotypical pastoral themes such as sheep and
shepherds. Instead, he focuses on the dramatic struggles that occur within the natural world, such as the
conflict of the changing of seasons (as in "After Apple-Picking") and the destructive side of nature (as in
"Once by the Pacific"). Frost also presents the natural world as one that inspires deep metaphysical
thought in the individuals who are exposed to it (as in "Birches" and "The Sound of Trees"). For Frost,
Nature is not simply a background for poetry, but rather a central character in his works.
Communication
Communication, or the lack thereof, appears as a significant theme is several of Frost's poems, as Frost
presents it as the only possible escape from isolation and despair. Unfortunately, Frost also makes it clear
that communication is extremely difficult to achieve. For example, in "Home Burial," Frost describes two
terrible events: the death of a child and the destruction of a marriage. The death of the child is tragic, but
inability of the husband and wife to communicate with each other and express their grief about the loss is
what ultimately destroys the marriage. Frost highlights this inability to communicate by writing the poem
in free verse dialogue; each character speaks clearly to the reader, but neither is able to understand the
other. Frost explores a similar theme in "Acquainted with the Night," in which the narrator is unable to
pull himself out of his depression because he cannot bring himself even to make eye contact with those
around him. In each of these cases, the reader is left with the knowledge that communication could have
saved the characters from their isolation. Yet, because of an unwillingness to take the steps necessary to
create a relationship with another person, the characters are doomed.
Everyday Life
Frost is very interested in the activities of everyday life, because it is this side of humanity that is the most
"real" to him. Even the most basic act in a normal day can have numerous hidden meanings that need only
to be explored by a poetic mind. For example, in the poem "Mowing," the simple act of mowing hay with
a scythe is transformed into a discussion of the value of hard work and the traditions of the New England
countryside. As Frost argues in the poem, by focusing on "reality," the real actions of real people, a poet
can sift through the unnecessary elements of fantasy and discover "Truth." Moreover, Frost believes that
the emphasis on everyday life allows him to communicate with his readers more clearly; they can
empathize with the struggles and emotions that are expressed in his poems and come to a greater
understanding of "Truth" themselves.
Isolation of the Individual
This theme is closely related to the theme of communication. The majority of the characters in Frost's
poems are isolated in one way or another. Even the characters who show no sign of depression or
loneliness, such as the narrators in "The Sound of Trees" or "Fire and Ice," are still presented as detached
from the rest of society, isolated because of their unique perspective. In some cases, the isolation is a far
more destructive force. For example, in "The Lockless Door," the narrator has remained in a "cage" of
isolation for so many years that he is too terrified to answer the door when he hears a knock. This
heightened isolation keeps the character from fulfilling his potential as an individual and ultimately
makes him a prisoner of his own making. Yet, as Frost suggests, this isolation can be avoided by
interactions with other members of society; if the character in "The Lockless Door" could have brought
himself to open the door and face an invasion of his isolation, he could have achieved a greater level of
personal happiness.
Duty
Duty is a very important value in the rural communities of New England, so it is not surprising that Frost
employs it as one of the primary themes of his poetry. Frost describes conflicts between desire and duty
as if the two must always be mutually exclusive; in order to support his family, a farmer must
acknowledge his responsibilities rather than indulge in his personal desires. This conflict is particularly
clear in "Stopping by Woods on a Snowy Evening," when the narrator expresses his wish to stay in the
woods and watch the snow continue to fall. However, he is unable to deny his obligation to his family and
his community; he cannot remain in the woods because of his "promises to keep," and so he continues on
his way. Similarly, in "The Sound of Tree," Frost describes a character who wants to follow the advice of
the trees and make the "reckless" decision to leave his community. At the end of the poem, the character
does not choose to leave (yet) because his sense of duty to those around him serves as the roots that keep
him firmly grounded.
Rationality versus Imagination
This theme is similar to the theme of duty, in that the hardworking people whom Frost describes in his
poetry are forced to choose between rationality and imagination; the two cannot exist simultaneously. The
adults in Frost's poetry generally maintain their rationality as a burden of duty, but there are certain cases
when the hint of imagination is almost too seductive to bear. For example, in "Birches," the narrator
wishes that he could climb a birch tree as he did in his childhood and leave the rational world behind, if
only for a moment. This ability to escape rationality and indulge in the liberation of imagination is limited
to the years of childhood. After reaching adulthood, the traditions of New England life require strict
rationality and an acceptance of responsibility. As a result of this conflict, Frost makes the poem "Out,
Out--" even more tragic, describing a young boy who is forced to leave his childhood behind to work at a
man's job and ultimately dies in the process.
Rural Life versus Urban Life
This theme relates to Frost's interest in Nature and everyday life. Frost's experience growing up in New
England exposed him to a particular way of life that seemed less complicated and yet more meaningful
than the life of a city dweller. The farmers whom Frost describes in his poetry have a unique perspective
on the world as well as a certain sense of honor and duty in terms of their work and their community.
Frost is not averse to examining urban life in his poetry; in "Acquainted with the Night," the narrator is
described as being someone who lives in a large city. However, Frost has more opportunities to find
metaphysical meaning in everyday tasks and explore the relationship between mankind and nature
through the glimpses of rural life and farming communities that he expresses in his poetry. Urban life is
"real," but it lacks the quality and clarity of life that is so fascinating to Frost in his work.

Robert Frost: Poems Summary and Analysis of "The Road Not Taken" (1916)
The narrator comes upon a fork in the road while walking through a yellow wood. He considers both
paths and concludes that each one is equally well-traveled and appealing. After choosing one of the roads,
the narrator tells himself that he will come back to this fork one day in order to try the other road.
However, he realizes that it is unlikely that he will ever have the opportunity to come back to this specific
point in time because his choice of path will simply lead to other forks in the road (and other decisions).
The narrator ends on a nostalgic note, wondering how different things would have been had he chosen the
other path.

Analysis

This poem is made up of four stanzas of five lines, each with a rhyme scheme of ABAAB.
Along with “Stopping by Woods on a Snowy Evening,” this poem is one of Frost’s most beloved works
and is frequently studied in high school literature classes. Since its publication, many readers have
analyzed the poem as a nostalgic commentary on life choices. The narrator decided to seize the day and
express himself as an individual by choosing the road that was “less traveled by.” As a result of this
decision, the narrator claims, his life was fundamentally different that it would have been had he chosen
the more well-traveled path.

This reading of the poem is extremely popular because every reader can empathize with the narrator’s
decision: having to choose between two paths without having any knowledge of where each road will
lead. Moreover, the narrator’s decision to choose the “less traveled” path demonstrates his courage.
Rather than taking the safe path that others have traveled, the narrator prefers to make his own way in the
world.

However, when we look closer at the text of the poem, it becomes clear that such an idealistic analysis is
largely inaccurate. The narrator only distinguishes the paths from one another after he has already
selected one and traveled many years through life. When he first comes upon the fork in the road, the
paths are described as being fundamentally identical. In terms of beauty, both paths are equally “fair,” and
the overall “…passing there / Had worn them really about the same.”

It is only as an old man that the narrator looks back on his life and decides to place such importance on
this particular decision in his life. During the first three stanzas, the narrator shows no sense of remorse
for his decision nor any acknowledgement that such a decision might be important to his life. Yet, as an
old man, the narrator attempts to give a sense of order to his past and perhaps explain why certain things
happened to him. Of course, the excuse that he took the road “less traveled by” is false, but the narrator
still clings to this decision as a defining moment of his life, not only because of the path that he chose but
because he had to make a choice in the first place.

Robert Frost: Poems Summary and Analysis of "Stopping by Woods on a Snowy Evening" (1923)
On a dark winter evening, the narrator stops his sleigh to watch the snow falling in the woods. At first he
worries that the owner of the property will be upset by his presence, but then he remembers that the
owner lives in town, and he is free to enjoy the beauty of the falling snow. The sleigh horse is confused
by his master’s behavior — stopping far away from any farmhouse — and shakes his harness bells in
impatience. After a few more moments, the narrator reluctantly continues on his way.

Analysis

In terms of text, this poem is remarkably simple: in sixteen lines, there is not a single three-syllable word
and only sixteen two-syllable words. In terms of rhythmic scheme and form, however, the poem is
surprisingly complex. The poem is made up of four stanzas, each with four stressed syllables in iambic
meter. Within an individual stanza, the first, second, and fourth lines rhyme (for example, “know,”
“though,” and “snow” of the first stanza), while the third line rhymes with the first, second, and fourth
lines of the following stanza (for example, “here” of the first stanza rhymes with “queer,” “near,” and
“year” of the second stanza).

One of Frost’s most famous works, this poem is often touted as an example of his life work. As such, the
poem is often analyzed to the minutest detail, far beyond what Frost himself intended for the short and
simple piece. In reference to analyses of the work, Frost once said that he was annoyed by those “pressing
it for more than it should be pressed for. It means enough without its being pressed…I don’t say that
somebody shouldn’t press it, but I don’t want to be there.”
The poem was inspired by a particularly difficult winter in New Hampshire when Frost was returning
home after an unsuccessful trip at the market. Realizing that he did not have enough to buy Christmas
presents for his children, Frost was overwhelmed with depression and stopped his horse at a bend in the
road in order to cry. After a few minutes, the horse shook the bells on its harness, and Frost was cheered
enough to continue home.

The narrator in the poem does not seem to suffer from the same financial and emotional burdens as Frost
did, but there is still an overwhelming sense of the narrator’s unavoidable responsibilities. He would
prefer to watch the snow falling in the woods, even with his horse’s impatience, but he has “promises to
keep,” obligations that he cannot ignore even if he wants to. It is unclear what these specific obligations
are, but Frost does suggest that the narrator is particularly attracted to the woods because there is “not a
farmhouse near.” He is able to enjoy complete isolation.

Frost’s decision to repeat the final line could be read in several ways. On one hand, it reiterates the idea
that the narrator has responsibilities that he is reluctant to fulfill. The repetition serves as a reminder, even
a mantra, to the narrator, as if he would ultimately decide to stay in the woods unless he forces himself to
remember his responsibilities. On the other hand, the repeated line could be a signal that the narrator is
slowly falling asleep. Within this interpretation, the poem could end with the narrator’s death, perhaps as
a result of hypothermia from staying in the frozen woods for too long.

The narrator’s “promises to keep” can also be seen as a reference to traditional American duties for a
farmer in New England. In a time and a place where hard work is valued above all things, the act of
watching snow fall in the woods may be viewed as a particularly trivial indulgence. Even the narrator is
aware that his behavior is not appropriate: he projects his insecurities onto his horse by admitting that
even a work animal would “think it queer.”

A Brook in the City Analysis by Robert Frost The farmhouse lingers, though averse to square
With the new city street it has to wear
A number in. But what about the brook
That held the house as in an elbow-crook?
I ask as one who knew the brook, its strength
And impulse, having dipped a finger length
And made it leap my knuckle, having tossed
A flower to try its currents where they crossed.
The meadow grass could be cemented down
From growing under pavements of a town;
The apple trees be sent to hearth-stone flame.
Is water wood to serve a brook the same?
How else dispose of an immortal force
No longer needed? Staunch it at its source
With cinder loads dumped down? The brook was thrown
Deep in a sewer dungeon under stone
In fetid darkness still to live and run --
And all for nothing it had ever done
Except forget to go in fear perhaps.
No one would know except for ancient maps
That such a brook ran water. But I wonder
If from its being kept forever under,
The thoughts may not have risen that so keep
This new-built city from both work and sleep.
Robert Frost

A poem has an outcome that though for seen was pre destined from the first image of the original mood-
and indeed from the very mood – Robert frost

Robert Frost the great American poet has given his panoramic view on nature and man meanness. His
response to nature is entirely realistic. The poem a brook in the city was written somewhat in early 1920
when history was witnessing Industrial Revolution and urbanization. It was at that time man became an
evil and the outcome was the devastation and extinction of nature.

In the poem the poet has described the brook in the city as mortal. He expands his thoughts and further
says that in the city which is urbanized with tall buildings, monuments, and farmhouses where there is a
small drain of water flowing. This little sewage was once a strong brook. Those who’re familiar with
brook are aware of its strength. The one who has dipped his fingers in it, the one who has walked on it,
the one who has smelt the fragrance of its floating flowers can well understand its futility and strength.
But this man in his lone, selfish greed has even cemented this fresh green grass. The apple tree has lost its
identity instead it has become a strong wooden house. In its greed and zeal man has challenged nature and
converted something which was immortal to mortal. Infect because of man’s modernization the brook
which was a symbol of force is now nothing more then a weak and meek sewer. At night it still flows. A
time would come when people would forget that there was a brook which existed. It would only exist on
maps. The poet wonders if man could ever ever understand his mistake. The man who is so engrossed in
his personal growth will he ever be able to understand that the brook in the city also deserved an
accomplished life.

This poem has a specific rhyming scheme, and it stays consistent throughout the poem. There are many
examples of personification: “The farm house lingers.”, “…Brook/That held…” etc. An example of a
hyperbole is used within this poem: “…The meadow grass could be cemented down…” This is a
hyperbole as well as a metaphor, as the grass is not literally cemented down, it is symbolizing how nature
is become overcome by cities. This poem is a good example of imagery. It creates the images of a
peaceful brook, and a hectic city, and it compares the two. Some of the stylistic choices help create these
images. There is little harsh language within the poem, which creates the image of a peaceful brook.

The poet has written about the actions of ordinary men who are real and who are mingled in their self
interest and in the process they have forgotten the interest of nature. The objects of his extract, spaced out,
prosaic rhythms have the tremendous strength of things merely put down and left to speak for themselves
like in the poem the brook speaks for itself.

The poem is frost attempt to sensitize man or else his deed would pay back his actions.

ACQUAINTED WITH THE NIGHT INTRODUCTION

 I have been one acquainted with the night.
I have walked out in rain --and back in rain.
I have outwalked the furthest city light.

I have looked down the saddest city lane.

I have passed by the watchman on his beat
And dropped my eyes, unwilling to explain.

I have stood still and stopped the sound of feet

When far away an interrupted cry
Came over houses from another street,

But not to call me back or say good-bye;

And further still at an unearthly height
One luminary clock against the sky

Proclaimed the time was neither wrong nor right.

I have been one acquainted with the night.

STOPPING BY WOODS ON A SNOWY EVENING INTRODUCTION

Nutshell

Maybe you've seen this little poem elegantly scrawled on a gift card. Perhaps your favorite teacher recited
it to you and your classmates with a chilling, gravelly voice. Or perchance you simply came across it once
upon a time and can't seem to get it out of your head. No matter what, we're willing to bet big money that
you and this poem are already friends.

Robert Frost wrote "Stopping by Woods on a Snowy Evening" in 1922, two years before winning the first
of his four Pulitzer Prizes. The poem tells the story of a man traveling through some snowy woods on the
darkest evening of the year, and he's pretty much in love with what he sees around him. He's on his way
back to town, but he can't quite tear himself away from the lovely and dark woods.

People love to talk about what this poem means. Some argue that it is simply a description of a man
appreciating nature. Others would tell you that there is some heavy metaphor action going down, and that
the poem is about death. And there are those who take it a step further and say that this poem addresses
suicide. Nature-lovers see it as a piece that trumpets nature and that scorns civilization (take that,
civilization!). You probably have your own idea of what this poem means. We at Shmoop have an inkling
that the heart of this poem's awesomeness lies in how it soundsrather than in what it means, and so we're
going to take some time to look at and listen to the sounds in this poem (see "Sound Check").

Robert Frost is a beloved American poet, and many people associate him with nature and with the New
England landscape, because, well, he liked to write about nature and the New England landscape. He was
born in San Francisco (land of the sourdough), but spent most of his years in snowy places like
Massachusetts and New Hampshire (land of the maple syrup).

Frost is known for creating simple poems that can be interpreted on many different levels. He also loved
to inject everyday, colloquial speech into his poems. He was big on sounds, often talking about how the
sounds of words carry more meaning than the words themselves. Check it:

"What we do get in life and miss so often in literature is the sentence

sounds that underlie the words. Words themselves do not convey meaning,
and to [. . . prove] this, . . . let us take the example of two people who
are talking on the other side of a closed door, whose voices can be heard
but whose words cannot be distinguished. Even though the words do not
carry, the sound of them does, and the listener can catch the meaning of
the conversation. . . . [T]o me a sentence is not interesting merely in
conveying a meaning of words. It must do something more; it must convey a
meaning by sound." (Source)

So, if we follow Mr. Frost's advice, we shouldn't be so concerned with what this poem means as
concerned with how it means. Let's warm up our vocal chords and perk up our ears, because something
tells us we're going to be reciting and listening to "Stopping by Woods on a Snowy Evening" until the
wee hours of the night.

WHY SHOULD I CARE?

Have you ever wanted to escape from the world for a little while? Perhaps to go watch some woods fill up
with snow? Leave Facebook to accumulate friend requests and wall posts for you, let the e-mails pile up,
record a mischievous away message on your cell phone, stuff the homework, the papers, and the tests
under the bed? Well, then this is a poem for you.

Sometimes we crave a little vacation from responsibility. Sometimes we get hungry for alone time like
the speaker does in "Stopping by Woods on a Snowy Evening." In a world in which we are constantly
stimulated by the Internet, TV, phones, and ads, and in a world in which we are busy little bees, do we get
to spend much time alone anymore? Do we have time to stop and smell the roses?

STANZA I (LINES 1-4) SUMMARY

Get out the microscope, because we’re going through this poem line-by-line.

Line 1

Whose woods these are I think I know.

 Our speaker is not the most confident person in the world. This line begins as a question, and
we're totally ready to get on board the question train, but then, halfway through the line, he
switches it up.
 He wonders initially who owns "these woods." The word thesemakes us realize that our speaker
is actually near the woods in question.
 Our speaker then tells us he thinks he knows who owns these woods. Notice how he doesn't say
he knows who owns these woods; he says he thinks he knows.
 Why doesn't our speaker say, "I think I know whose woods these are"? What would be lost or
gained if the poem began with that rewritten line?

Line 2

His house is in the village though;

 The speaker thinks he knows the owner of woods, and this owner lives in a house in the village.
Civilization, sweet, sweet civilization!
 This line tells us that there is a village around here somewhere. The word "village" reminds us of
thatched roofs, smoke curling out of little chimneys, and of a few stores and homes clustered
around a single main street; in other words, a village is not the most hoppin' place in the world.
 However, our speaker is relieved that the owner of the woods is in the village – now he doesn't
have to worry about getting caught trespassing on someone else's property.

Line 3

He will not see me stopping here

  Man, this woods-owner guy must be pretty strict if our speaker is so worried about getting caught
taking a breather on his property.
 The speaker is almost trying to calm himself down and reassure himself that the owner "will not
see me stopping here," as though he believes that saying so makes it true. It's similar to the
magical phrase, "If I can't see them, they can't see me," uttered by Haley Joel Osment in the
movie Sixth Sense.
 This line also tells us that the speaker has stopped, that he's hanging out at the moment.

Line 4

To watch his woods fill up with snow.

 Our speaker is a total rebel. He's hardcore trespassing so that he can…watch the snow fall?
 Yes, he has stopped in order to take a gander at snow falling on cedars.

STANZA II (LINES 5-8) SUMMARY

Get out the microscope, because we’re going through this poem line-by-line.

Line 5

My little horse must think it queer

 Our speaker is not alone! He has a horse, and this horse is little. Maybe a pony.
 The speaker and his little horse probably spend a lot of time together, because our speaker is
totally able to read the little horse's mind.
 He imagines that his horse is thinking that things are a little strange right now.

Line 6

To stop without a farmhouse near

 Our speaker continues to read his horse's mind, and imagines the horse is thinking something
along the lines of, "Whoa, why are we stopping here? We're in the middle of nowhereville.
Where's my dinner? I don't know about you, but I'm cold. There isn't even a farmhouse close by –
what's going on?"
 The fact that our speaker even attempts to figure out what his horse is thinking shows that he's a
caring kind of guy, and that he's aware that stopping in the middle of some snowy woods is kind
of a random thing to do.
Line 7

Between the woods and frozen lake

 Now we get the 411 on just where, exactly, the speaker and his horse have stopped: they are
currently hanging out between the woods and the "frozen lake," so they must be on a little patch
of snowy shoreline with dark trees to one side and a glossy, ice-covered lake to the other.
 It must be really cold if the lake is frozen, and we also are kind of intrigued by the fact that the
speaker is not riding through the woods, but is right beside the woods.

Line 8

The darkest evening of the year.

 Not only is it snowy and wintry, but it's also approaching nighttimetoo.
 Why is this speaker dilly-dallying when the light is dying and the snow is falling? A lot of people
in his place would want to scurry home as fast as is humanly possible.
 Besides sounding ominous and like the preview to a horror movie, "the darkest evening of the
year" makes us think of the winter solstice, which occurs in late December (in the northern
hemisphere) each year and marks the moment at which the sun is at its farthest possible distance
from the observer.
 It also happens to mark the beginning of winter.
 Whatever the case may be, it's dark out and it's getting darker by the minute. We don't think that
the speaker is the kind of guy to pack flashlights.

STANZA III (LINES 9-12) SUMMARY

Get out the microscope, because we’re going through this poem line-by-line.

Line 9

He gives his harness bells a shake

 Even though the speaker can read his little horse's mind, the horse can't talk back.
 So, the next best option is to shake his booty. And by shaking his booty, we mean that he shakes
his harness a little. There are little bells attached to his harness, which give a nice little jingle
(think Santa Claus's sleigh).

Line 10
To ask if there is some mistake.

 Again with the mind reading. Our speaker knows his horse is shaking his bells in order to "ask"
his master if something is awry, is there's a problem.
 It's kind of like the horse is saying, "Hey, is everything OK? We've been standing here staring at
nothing for a little while, and I just wanted to make sure you didn't need me to keep on truckin'.
I'm cool with the standing still thing, but I just wanted to make sure I wasn't misinterpreting you."

Line 11

The only other sound's the sweep

 Beyond the harness bells' shaking, the only other sound that the speaker can hear is the "sweep."
 The word "sweep" makes us think of the sound brooms make when they sweep dust into a
dustpan.
 At this point, we realize that the speaker is taking inventory of all of the sounds around him. He's
interested in sounds.

Line 12

Of easy wind and downy flake.

 The sweeping noise comes from the slight wind and the softly falling snow.
 Have you ever listened to snow falling? It's very, very quiet. There's just a gentle whirr.
Everything is very, very still.

STANZA IV (LINES 13-16) SUMMARY.

Get out the microscope, because we’re going through this poem line-by-line.

Line 13

The woods are lovely, dark and deep.

 Our speaker finally admits to liking the woods. We knew it all along. He's entranced by the
darkness and deepness of the woods, and he thinks they are lovely.
 Dark and deep woods are awesome in our book, but they also make us feel slightly anxious.
There's something mysterious about the maze-like nature of woods and forests.
 The point, though, is that our speaker digs these woods.
Line 14

But I have promises to keep,

 Our speaker begins this line with the word "but." The word "but" makes us think that the speaker
is contemplating staying in these woods rather than returning to the village to fulfill the promises
he's made.
 These promises may be things like, "I'll be home for dinner, mom," or they may be things like,
"Let's get married," or "I will take care of you."
 Regardless of whether these are big promises or little promises, our speaker flirts momentarily
with the idea of breaking them, before deciding against it.

Line 15

And miles to go before I sleep,

 Rats. Our speaker really is in the middle of nowhere, because he's still got a few miles to go
before he can rest his head on his pillow. He better roll out soon.
 But we feel like we are well acquainted with that feeling of being so far away from where you
need to be that it almost seems easier to just give up and hang out.

Line 16

And miles to go before I sleep.

 OK, so our speaker must really be far from home, because he feels the need to repeat the fact that
he's got miles to go.
 However, when he says the line a second time, we hear the word "sleep" more clearly than when
we heard it in the line before. Maybe that's because "sleep" has the honor of wrapping up the
entire poem.
 In any case, this line makes us think of how awesome it will be for our speaker to finally rest his
head on his pillow after such a long trek.

Symbol Analysis

The woods in this poem are something to write home about. Our speaker can't get enough of them, telling
us that "the woods are lovely, dark and deep" (13), as though he were hypnotized. The woods must be all
that and a bag of chips, because our speaker is compelled to stop and stare at them on the freezing, dark
winter evening. There's a mysterious element to these woods as well, and we get the sense that the
speaker is not alone, even though he is very much by himself. Whenever we see woods in literature, we
almost automatically see them in contrast to civilization. If you've readThe Scarlet Letter, think about the
woods Hester Prynne frequents. We also think of woods as being mazelike and full of hidden obstacles,
like the Fire Swamp in The Princess Bride (watch out for the Rodents Of Unusual Size and the
quicksand). These are some pretty intense woods, so feel free to interpret them how you will. We will
offer a few ideas below.

 Lines 1, 4, 7, 13: Some interpret the woods as an extended metaphor for death.
 Line 4: Here we see woods as a clear and crisp image as our speaker describes them filling up
with snow.

THE NATURAL WORLD

Symbol Analysis

Our speaker is digging the natural world. Picture him hanging out with his horse, between a frozen lake
and the edge of the woods, while the snows falls gently all around him. The ideas of the village, of a
farmhouse, or of the promises he must keep are not nearly as appetizing to our speaker as the cold beauty
of the world around him. There's something very lulling about the "easy wind and downy flake" (12), and
we get the sense that the natural world is pretty compelling and pretty good at convincing our speaker to
forget about civilization. Nature is powerful in this poem.

 Lines 6-8: With these lines, we get a crystal clear image of the snowy woods and frozen lake at
night.
 Line 11: We can almost hear the sound of the wind in the alliteration of "sound's the sweep."
 Line 13: While the fact that the woods are "lovely, dark and deep" might not seem visually
helpful, this description actually helps us visualize the image of the woods even more clearly.

Symbol Analysis

Alone as alone can be. That's our speaker on this snowy evening. Why then, do we feel like
he's not alone? Is it his little horse that seems to have a mind of its own, is it the landowner who is snug in
his cozy house in the cozy village, or is it the presence of something else entirely?

 Line 2: The "village" can be interpreted as a symbol for society and civilization.
 Line 5: Horses have thoughts? We knew it all along. The horse is personified in this line.
  Line 6: Farmhouses may not be the most hoppin' places in the world, but they do usually involve
people. Because of this, the farmhouse that our speaker mentions seems like a symbol for society
and civilization.
 Line 10: Giving his harness bells a shake, the horse is personified once more as he asks "if there
is some mistake."
 Lines 15-16: "Sleep" is a solitary activity, no? In these lines, "sleep" could be interpreted as a
metaphor for death.

owns the woods lives in town in a house. From this little information, we can deduce that if you own
things (like the owner of the woods does), then you live in the midst of society. Our speaker is not so
concerned with society. In fact, society to him is about as appetizing as cod liver oil. He'd rather be alone
with nature. To us, the village sounds quaint, cute, and warm. To our speaker, the village represents his
obligations, responsibilities, and promises.