17 pages • 34 minutes read
Snow is an essential symbol within the poem, so much so as to be featured in the title: “a Snowy Evening.” In addition to establishing the poem’s setting, it also establishes the stakes; the scene takes place on a cold winter’s day, which means remaining in the woods too long will become fatal.
Despite this sinister connotation, however, and the very real threat it presents, here snow is presented as something rich and beautiful. The first mention of it outside the title happens at the closing of the first stanza: “To watch his woods fill up with snow” (Line 4). This immediately shows that the speaker finds the snow something worth stopping for, and it is acknowledged as a symbol of The Natural World. The snow increases the otherworldly sense of isolation the speaker feels away from the constraints of society. The idea of the woods filling with snow creates the image of a blank canvas, a place in which mistakes can be erased and difficult memories forgotten. This ties into the overall theme of Life and Death, in which death is presented as a release. The imagery of death as a source of rest is hinted at in the description of snow: “the sweep / Of […] downy flake” (Lines 11-12). This line doesn’t allude to temperature or danger at all, but rather the soft, comforting, blanket-like quality of the snow. It makes the speaker feel like the world is a bed they could crawl into and forget everything that had come before.
The woods are mentioned four times throughout the short text and represent the poem’s entire world. The speaker has gone far enough into them that they can’t hear any noise from the nearby roads or villages. The poet draws attention to them right at the beginning and right at the end of the poem, using their symbolism as bookends for the larger thematic ideas: “Whose woods these are I think I know” (Line 1), and “The woods are lovely, dark and deep” (Line 13). While the opening line is phrased as a question, an invitation to explore, the final reference has a closed quality and reflects the speaker’s response to that exploration.
Here, the woods symbolize a place of rest and restoration away from the constrictions of civilization. However, there is also the potential to stay too long and succumb to the ultimate rest—death. In literal terms, this is what the poem’s speaker would face if they remained in the cold woods indefinitely, though it suggests a type of spiritual death as well. The speaker expresses an interest in remaining there in the darkness but knows there is still life waiting beyond its borders. In this way, the woods become a metaphor for death in its most positive iteration—not as something to be feared but a reward to be embraced when battles are won. Here, the speaker juxtaposes the theme of Societal Obligation, offering a tempting way out of the promises the speaker has made to the world outside. Though the speaker has “miles to go before [they] sleep” (Lines 15, 16), they will return there one day when their time comes.
The horse in the poem serves as a foil to both the speaker and the world around them. Aside from the speaker, the horse is the only living thing both within the narrative and within the wider setting. The speaker acknowledges the differences between them: “My little horse must think it queer / To stop without a farmhouse near” (Lines 5-6). For the horse, the world is seen in simple colors of warmth and responsibility, rather than the broad existential questions faced by the speaker.
The sound of the horse’s bells is also a pivotal moment in the poem: “He gives his harness bells a shake” (Line 9). This sound is at odds with the silence of the woods around them, and a reminder of the speaker’s responsibilities. Harness bells are typically gold in color, as they would be in Frost’s time and still are today, creating a contrast against the cold silvery white of the snowy world. Both the horse and his attitude juxtapose the sensations of the speaker.
The horse, in addition to being a living thing bred for its Societal Obligation, is a mode of transportation—it represents forward movement. To be in stasis in the middle of the woods is an unnatural state for the horse, and its need and purpose to be in motion contrasts the speaker’s need to stop and lay down their cares. Thus, the horse represents the speaker’s obligations beyond the edge of the woods and serves as a counterpoint to the seductive darkness.
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By Robert Frost