So far in our reading of “Design,” our questions revolve around disruption: disruption of form, disruption of expectations in the description of certain images. Discovering a concept or idea that links multiple questions or observations you have made is the beginning of a discovery of theme.
Questions
What point is Frost making? Observations about other elements in the text help you address the idea of disruption in more depth. Here is where we look back at the work we have already done: What is the text about? What is notable about the form, and how does it support or undermine what the words say? Does the specific language of the text highlight, or redirect, certain ideas?
In this example, we are looking to determine what kind(s) of disruption the poem contains or describes. Rather than “disruption,” we want to see what kind of disruption, or whether indeed Frost uses disruptions in form and language to communicate something opposite: design.
Sample Analysis
After you make notes, formulate questions, and set tentative hypotheses, you must analyze the subject of your close reading. Literary analysis is another process of reading (and writing!) that allows you to make a claim about the text. It is also the point at which you turn a critical eye to your earlier questions and observations to find the most compelling points, discarding the ones that are a “stretch.” By “stretch,” we mean that we must discard points that are fascinating but have no clear connection to the text as a whole. (We recommend a separate document for recording the brilliant ideas that don’t quite fit this time around.)
Here follows an excerpt from a brief analysis of “Design” based on the close reading above. This example focuses on some lines in great detail in order to unpack the meaning and significance of the poem’s language. By commenting on the different elements of close reading we have discussed, it takes the results of our close reading to offer one particular way into the text. (In case you were thinking about using this sample as your own, be warned: it has no thesis and it is easily discoverable on the web. Plus it doesn’t have a title.)
Excerpt
Frost’s speaker brews unlikely associations in the first stanza of the poem. The “Assorted characters of death and blight / Mixed ready to begin the morning right” make of the grotesque scene an equally grotesque mockery of a breakfast cereal (4–5). These lines are almost singsong in meter and it is easy to imagine them set to a radio jingle. A pun on “right”/”rite” slides the “characters of death and blight” into their expected concoction: a “witches’ broth” (6). These juxtapositions-a healthy breakfast that is also a potion for dark magic-are borne out when our “fat and white” spider becomes “a snow-drop”-an early spring flower associated with renewal-and the moth as “dead wings carried like a paper kite” (1, 7, 8). Like the mutant heal-all that hosts the moth’s death, the spider becomes a deadly flower; the harmless moth becomes a child’s toy, but as “dead wings,” more like a puppet made of a skull.
The volta offers no resolution for our unsettled expectations. Having rksloans.com/payday-loans-ut/ observed the scene and detailed its elements in all their unpleasantness, the speaker turns to questions rather than answers. How did “The wayside blue and innocent heal-all” end up white and bleached like a bone (10)? How did its “kindred spider” find the white flower, which was its perfect hiding place (11)? Was the moth, then, also searching for camouflage, only to meet its end? Using another question as a disguise, the speaker offers a hypothesis: “What but design of darkness to appall? This question sounds rhetorical, as though the only reason for such an unlikely combination of flora and fauna is some “design of darkness. Such a design appalls, or horrifies. We might also consider the speaker asking what other force but dark design could use something as simple as appalling in its other sense (making pale or white) to effect death.
