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17 pages 34 minutes read

Robert Frost

Dust of Snow

Fiction | Poem | Adult | Published in 1923

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Background

Authorial Context: Robert Frost, New Hampshire, and Depression

The relationship between Frost’s life and the poem’s details makes it possible to identify the potential inspiration for “Dust of Snow,” or at minimum, the connection Frost shares with the poem’s contents. The poem features “a hemlock tree” (Line 4), and these trees are common in New Hampshire, where Frost lived and owned a farm. The poem appears in a collection named after Frost’s home state, furthering the biographical connection between Frost and the speaker. The speaker has an intimate connection with nature, as the crow, snow, and tree help the speaker feel better, and Frost, choosing to live on a farm, has a particular bond with the outdoors and its elements.

In a biographical portrait of Frost’s life and career, “The Terror in Robert Frost,” the 20th-century American poet William Stafford states, “[Frost’s] image and his poems found their way everywhere—while shadows tugged at his career” (Stafford, William. “The Terror in Robert Frost.” The New York Times, 1974). The shadows refer to Frost’s battle with depression. He was known to be volatile and unstable. In Stafford’s article, one of Frost’s daughters, Lesley, remembers waking up at night and witnessing Frost threaten to use a gun on himself or Elinor, his wife. The shadows also link to Frost’s family. Frost’s son, Carol, died by suicide, and one of his daughters, Irma, spent time at a psychiatric hospital. Additionally, Frost’s sister, Jeanie, was at a psychiatric hospital for around nine years, and Elinor battled mental health conditions.

In “Dust of Snow,” Frost arguably alludes to his and his family’s “shadows” with the final word “rued” (Line 8). Like the speaker, Frost experienced stark emotions. In the poem and Frost’s life, disquiet is an inevitable, and the speaker and Frost can’t defeat it, but with help from nature, they can try and manage the intense feelings and keep “some part / Of a day” (Lines 7-8) from despair.

Literary Context: Modernism and Imagism

While in England during the early 1900s, Frost became acquainted with Ezra Pound, an American poet associated with Modernism and Imagism. Aside from Pound, famous Modernist authors include Virginia Woolf, Gertrude Stein, and T. S. Eliot. Modernists tended to be suspicious of an impartial, collective reality. They thought the truth was subjective, and the increasingly technological and violent world reinforced their belief that reality is a singular, fractured experience.

In “Dust in Snow,” the speaker is isolated: They’re not surrounded by other people but alone. After a relatively objective image of the crow shaking snow onto the speaker, the speaker’s subjectivity takes over. The speaker processes the scene their way, using the possessive pronoun “my” (Line 5) and the personal pronoun “I” (Line 8). The speaker determines the veracity of the moment. Their reality depends on their “heart” and “mood” (Lines 5-6). Though rhymes and pastoral settings are not typically tied to Modernism, the speaker, by focusing on themselves and how their feelings shape their interpretation of their moment in nature, displays a Modernist mindset.

Pound is also central to the Imagist movement. Beginning a little after Modernism, Imagist poets like Pound and Amy Lowell thought creating a vivid picture should be the top priority for a 20th-century poet. Poets didn’t have to worry about rhymes or messaging, instead focusing on using precise language to produce a crisp scene. In Stanza 1, Frost uses detailed language to generate a lucid picture of the pastoral scene. The reader can see the crow shaking a “dust of snow / From a hemlock tree” (Lines 3-4) onto the speaker. Stanza 2, however, undercuts the thesis of Imagists, as Imagists weren’t concerned with using poetry to present abstract feelings like rue.

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