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With respect to his most anthologized poem, "Stopping By Woods. . ." which he called "my best bid for remembrance," such "feats" are seen in its rhyme scheme, with the third unrhyming line in each of the first three stanzas becoming the rhyme word of each succeeding stanza until the last one, all of whose end words rhyme and whose final couplet consists of a repeated "And miles to go before I sleep." Or they can be heard in the movement of the last two lines of stanza three:

He gives his harness bells a shake

To ask if there is some mistake.

  The only other sound's the sweep

  Of easy wind and downy flake.

As with "Her early leaf's a flower," the contraction effortlessly carries us along into "the sweep / Of easy wind" so that we arrive at the end almost without knowing it.

Discussion of this poem has usually concerned itself with matters of "content" or meaning (What do the woods represent? Is this a poem in which suicide is contemplated?). Frost, accordingly, as he continued to read it in public made fun of efforts to draw out or fix its meaning as something large and impressive, something to do with man's existential loneliness or other ultimate matters. Perhaps because of these efforts, and on at least one occasion--his last appearance in 1962 at the Ford Forum in Boston--he told his audience that the thing which had given him most pleasure in composing the poem was the effortless sound of that couplet about the horse and what it does when stopped by the woods: "He gives his harness bells a shake / To ask if there is some mistake." We might guess that he held these lines up for admiration because they are probably the hardest ones in the poem out of which to make anything significant: regular in their iambic rhythm and suggesting nothing more than they assert, they establish a sound against which the "other sound" of the following lines can, by contrast, make itself heard. Frost's fondness for this couplet suggests that however much he cared about the "larger" issues or questions which "Stopping By Woods . . ." raises and provokes, he wanted to direct his readers away from solemnly debating them; instead he invited them simply to be pleased with how he had put it. He was to say later on about Edwin Arlington Robinson something which could more naturally have been said about himself--that his life as a poet was "a revel in the felicities of language." "Stopping By Woods . . ." can be appreciated only by removing it from its pedestal and noting how it is a miniature revel in such felicities.



From Frost: A Literary Life Reconsidered. Copyright © 1984 by William Pritchard.