“Directive” by Robert Frost: A Critical Analysis

Introduction: “Directive” by Robert Frost

“Directive” by Robert Frost, first appeared in 1947 in his collection Steeple Bush, is characteristic of Frost’s later work, showcasing a darker, more meditative tone than his earlier, more optimistic poems. “Directive” is a journey poem, guiding the reader through a physical and spiritual landscape, urging them to seek solace and meaning in a world that can often feel chaotic and disillusioning. The poem employs Frost’s signature plain-spoken language and deceptively simple imagery, while delving into deeper themes of loss, memory, and the search for spiritual fulfillment.

Text: “Directive” by Robert Frost

Back out of all this now too much for us,
Back in a time made simple by the loss
Of detail, burned, dissolved, and broken off
Like graveyard marble sculpture in the weather,
There is a house that is no more a house
Upon a farm that is no more a farm
And in a town that is no more a town.
The road there, if you’ll let a guide direct you
Who only has at heart your getting lost,
May seem as if it should have been a quarry—
Great monolithic knees the former town
Long since gave up pretense of keeping covered.
And there’s a story in a book about it:
Besides the wear of iron wagon wheels
The ledges show lines ruled southeast northwest,
The chisel work of an enormous Glacier
That braced his feet against the Arctic Pole.
You must not mind a certain coolness from him
Still said to haunt this side of Panther Mountain.
Nor need you mind the serial ordeal
Of being watched from forty cellar holes
As if by eye pairs out of forty firkins.
As for the woods’ excitement over you
That sends light rustle rushes to their leaves,
Charge that to upstart inexperience.
Where were they all not twenty years ago?
They think too much of having shaded out
A few old pecker-fretted apple trees.
Make yourself up a cheering song of how
Someone’s road home from work this once was,
Who may be just ahead of you on foot
Or creaking with a buggy load of grain.
The height of the adventure is the height
Of country where two village cultures faded
Into each other. Both of them are lost.
And if you’re lost enough to find yourself
By now, pull in your ladder road behind you
And put a sign up CLOSED to all but me.
Then make yourself at home. The only field
Now left’s no bigger than a harness gall.
First there’s the children’s house of make believe,
Some shattered dishes underneath a pine,
The playthings in the playhouse of the children.
Weep for what little things could make them glad.
Then for the house that is no more a house,
But only a belilaced cellar hole,
Now slowly closing like a dent in dough.
This was no playhouse but a house in earnest.
Your destination and your destiny’s
A brook that was the water of the house,
Cold as a spring as yet so near its source,
Too lofty and original to rage.
(We know the valley streams that when aroused
Will leave their tatters hung on barb and thorn.)
I have kept hidden in the instep arch
Of an old cedar at the waterside
A broken drinking goblet like the Grail
Under a spell so the wrong ones can’t find it,
So can’t get saved, as Saint Mark says they mustn’t.
(I stole the goblet from the children’s playhouse.)
Here are your waters and your watering place.
Drink and be whole again beyond confusion.

Annotations: “Directive” by Robert Frost                

Text	Annotation
Back out of all this now too much for us,	The speaker suggests retreating from overwhelming complexity.
Back in a time made simple by the loss	Reflecting on a simpler past, now lost.
Of detail, burned, dissolved, and broken off	Details of the past have faded or been destroyed.
Like graveyard marble sculpture in the weather,	Imagery of weathered, eroded gravestones.
There is a house that is no more a house	Describing a house that has lost its original purpose or form.
Upon a farm that is no more a farm	Similarly, a farm that has ceased to function as it once did.
And in a town that is no more a town.	A town that has declined or disappeared.
The road there, if you’ll let a guide direct you	Offering guidance to navigate through the past.
Who only has at heart your getting lost,	The guide’s intention is to help you explore and possibly lose yourself in the experience.
May seem as if it should have been a quarry—	The road might appear like a quarry, a place of excavation and discovery.
Great monolithic knees the former town	Imagery of large, ancient remnants of the town.
Long since gave up pretense of keeping covered.	The town’s secrets or history are no longer hidden.
And there’s a story in a book about it:	Mentioning a tale or history recorded in literature.
Besides the wear of iron wagon wheels	Evidence of past transportation and industry.
The ledges show lines ruled southeast northwest,	Geological features marked by natural patterns.
The chisel work of an enormous Glacier	Geological formations shaped by ancient glaciers.
That braced his feet against the Arctic Pole.	Describing the immense power and influence of glaciers.
You must not mind a certain coolness from him	Warning not to be put off by a guide’s detachment or cool demeanor.
Still said to haunt this side of Panther Mountain.	Suggesting a lingering presence or history in the landscape.
Nor need you mind the serial ordeal	Encountering numerous challenges or tests along the way.
Of being watched from forty cellar holes	Feeling observed by hidden or forgotten places.
As if by eye pairs out of forty firkins.	Imagining eyes watching from old storage containers.
As for the woods’ excitement over you	The forest’s response to your presence.
That sends light rustle rushes to their leaves,	Leaves rustling in the breeze.
Charge that to upstart inexperience.	Explaining the forest’s reaction as due to your unfamiliarity.
Where were they all not twenty years ago?	Reflecting on changes over time.
They think too much of having shaded out	Trees having grown to overshadow older, smaller ones.
A few old pecker-fretted apple trees.	Mentioning old apple trees damaged by woodpeckers.
Make yourself up a cheering song of how	Encouraging creating a positive narrative or story.
Someone’s road home from work this once was,	Imagining the road as once being a common path for someone returning home from work.
Who may be just ahead of you on foot	Someone possibly walking just ahead of you.
Or creaking with a buggy load of grain.	Or someone transporting grain in a creaky buggy.
The height of the adventure is the height	Emphasizing the peak or climax of the journey.
Of country where two village cultures faded	Describing a place where two cultures merged and then faded.
Into each other. Both of them are lost.	Both cultures have disappeared or changed significantly.
And if you’re lost enough to find yourself	If you’re sufficiently lost, you might discover something about yourself.
By now, pull in your ladder road behind you	Metaphorically closing off your retreat or escape route.
And put a sign up CLOSED to all but me.	Exclusively inviting the speaker to enter.
Then make yourself at home. The only field	Inviting you to settle in.
Now left’s no bigger than a harness gall.	Describing the remaining small, restricted space.
First there’s the children’s house of make believe,	Imagery of a pretend house for children.
Some shattered dishes underneath a pine,	Broken dishes lying beneath a pine tree.
The playthings in the playhouse of the children.	Toys and objects in the children’s playhouse.
Weep for what little things could make them glad.	Reflecting on simple things that once brought joy.
Then for the house that is no more a house,	Returning to the theme of lost homes.
But only a belilaced cellar hole,	Describing a cellar that’s becoming indistinct.
Now slowly closing like a dent in dough.	Imagery of something fading or sinking gradually.
This was no playhouse but a house in earnest.	Contrasting the seriousness of the lost home with the children’s playhouse.
Your destination and your destiny’s	Referring to where you are meant to end up and what you are meant to achieve.
A brook that was the water of the house,	Describing a stream that was once essential to the home.
Cold as a spring as yet so near its source,	Emphasizing the stream’s purity and proximity to its origin.
Too lofty and original to rage.	Describing the stream as calm and dignified.
(We know the valley streams that when aroused	Acknowledging other streams that can become turbulent.
Will leave their tatters hung on barb and thorn.)	Leaving debris when they overflow.
I have kept hidden in the instep arch	Revealing a hidden treasure.
Of an old cedar at the waterside	Located near an old cedar tree by the water.
A broken drinking goblet like the Grail	Comparing the hidden object to the Holy Grail.
Under a spell so the wrong ones can’t find it,	Protected by magic from being found by unworthy seekers.
So can’t get saved, as Saint Mark says they mustn’t.	Quoting Saint Mark’s prohibition on being saved.
(I stole the goblet from the children’s playhouse.)	Admitting to taking the goblet from the playhouse.
Here are your waters and your watering place.	Presenting the stream and its associated place.
Drink and be whole again beyond confusion.	Encouraging the reader to drink from the stream and find clarity.

Literary And Poetic Devices: “Directive” by Robert Frost

Poetic/Literary Device	Example from “Directive”	Explanation	Function in “Directive”
Alliteration	“burned, dissolved, and broken off”	Repetition of initial consonant sounds in neighboring words.	Enhances the rhythm and creates a sense of decay and erosion.
Allusion	“Like the Grail”	Indirect reference to another work of literature, person, or event.	Adds depth and layers of meaning by referencing the Holy Grail, a symbol of spiritual fulfillment.
Anaphora	“There is a house that is no more a house / Upon a farm that is no more a farm”	Repetition of a word or phrase at the beginning of successive clauses.	Emphasizes the loss and disappearance of the past.
Blank Verse	The entire poem	Unrhymed iambic pentameter (five metrical feet per line, each foot consisting of one unstressed syllable followed by one stressed syllable).	Creates a natural, conversational tone while maintaining a formal structure.
Caesura	“The road there, if you’ll let a guide direct you”	A pause or break within a line of verse, often marked by punctuation.	Creates a sense of hesitation or contemplation, guiding the reader’s pace and understanding.
Enjambment	“And if you’re lost enough to find yourself / By now…”	The continuation of a sentence or phrase from one line of poetry to the next.	Creates a sense of fluidity and movement, mirroring the journey described in the poem.
Hyperbole	“Of being watched from forty cellar holes”	Exaggerated statements or claims not meant to be taken literally.	Adds a sense of unease and paranoia, reflecting the speaker’s anxieties.
Imagery	“belilaced cellar hole”	Vivid descriptions that appeal to the senses (sight, sound, smell, touch, taste).	Creates a rich sensory experience for the reader, bringing the poem’s setting to life.
Irony	“The wrong ones can’t find it, / So can’t get saved”	A contradiction between what is said and what is meant.	Adds a layer of complexity and ambiguity, raising questions about salvation and who is worthy of it.
Metaphor	“This was no playhouse but a house in earnest”	A comparison between two unlike things without using “like” or “as.”	Suggests that life is not a game but a serious endeavor with real consequences.
Metonymy	“The woods’ excitement over you”	Substituting the name of one object for another closely associated with it.	Personifies the woods, giving them human emotions and reactions.
Oxymoron	“lost enough to find yourself”	A figure of speech that combines opposite or contradictory terms.	Creates a sense of paradox and highlights the complexity of the journey towards self-discovery.
Personification	“Great monolithic knees the former town / Long since gave up pretense of keeping covered”	Attributing human qualities to inanimate objects or abstract concepts.	Makes the landscape more dynamic and engaging, suggesting a history and personality.
Repetition	“no more a house,” “no more a farm,” “no more a town”	Repeating words or phrases for emphasis.	Reinforces the theme of loss and the passage of time.
Rhyme	(Mostly absent, except for occasional slant rhymes)	Correspondence of sound between words or the endings of words, especially when these are used at the ends of lines of poetry.	Creates a subtle musicality and coherence even in the absence of strict rhyme scheme.
Simile	“Cold as a spring”	A comparison between two unlike things using “like” or “as.”	Creates a vivid image of the brook’s temperature and purity.
Symbolism	The goblet, the brook, the children’s playhouse	The use of objects or images to represent ideas or qualities.	Adds layers of meaning and invites the reader to interpret the poem on a deeper level.
Tone	Meditative, nostalgic, and at times, slightly ominous	The writer’s attitude toward the subject matter or audience.	Creates a complex emotional landscape, shifting between hope, despair, and contemplation.
Understatement	“The only field / Now left’s no bigger than a harness gall”	The presentation of something as being smaller, worse, or less important than it actually is.	Emphasizes the desolation and decay of the once-thriving farm.
Volta	“Make yourself up a cheering song of how…”	A rhetorical shift or dramatic change in thought and/or emotion.	Marks a transition from the speaker’s focus on the past to a call for resilience and hope.

Themes: “Directive” by Robert Frost

1. The Quest for Spiritual Fulfillment: “Directive” presents a journey towards spiritual renewal, guiding the reader through a physical landscape that mirrors an inner quest for meaning. Frost invites us to “back out of all this now too much for us,” urging a retreat from the complexities of modern life. The dilapidated house, the abandoned farm, and the forgotten town symbolize the shedding of material attachments in favor of a simpler, more authentic existence. The “broken drinking goblet like the Grail” represents a spiritual treasure to be found in the most unexpected places, promising wholeness “beyond confusion.”
2. The Power of Memory and the Past: Frost explores the significance of memory and the past in shaping our present and future. The poem’s journey is not just physical but also temporal, leading the reader back through time to a place “made simple by the loss / Of detail.” The ruins of the town and the remnants of the children’s playhouse evoke a sense of nostalgia and longing for a simpler past. However, Frost doesn’t romanticize the past; he acknowledges its hardships and challenges, represented by the “coolness” of the Glacier and the watchful “eye pairs out of forty firkins.” The past serves as a guide, a source of wisdom, and a reminder of our connection to those who came before.
3. The Relationship Between Humanity and Nature: Frost masterfully weaves together human experience and the natural world, blurring the boundaries between the two. The landscape is not merely a backdrop but an active participant in the poem’s journey. The “monolithic knees” of the former town blend with the natural rock formations, suggesting a harmony between human creations and the environment. The brook, “too lofty and original to rage,” offers a source of purity and rejuvenation. Nature acts as a teacher, a healer, and a source of solace for those who are willing to listen and learn.
4. The Importance of Solitude and Self-Reliance: “Directive” advocates for a solitary retreat from society, a journey of self-discovery and self-reliance. The speaker encourages the reader to “pull in your ladder road behind you / And put a sign up CLOSED to all but me.” This isolation is not a rejection of others but a necessary step towards finding one’s true self. The “children’s house of make believe” and the “playthings in the playhouse” symbolize the illusions and distractions of society that we must shed to achieve genuine self-understanding. Only in solitude, surrounded by the simple beauty of nature, can we truly “drink and be whole again beyond confusion.”

Literary Theories and “Directive” by Robert Frost

Critical Questions about “Directive” by Robert Frost

• How does Frost use imagery to convey themes of loss and nostalgia?
•  In “Directive,” Robert Frost employs poignant imagery to evoke profound themes of loss and nostalgia. The poem vividly describes places transformed by time, such as “a house that is no more a house / Upon a farm that is no more a farm,” which symbolize the passage of time and the erosion of past realities (Directive). Frost’s imagery, such as “graveyard marble sculpture” and “belilaced cellar hole,” paints a picture of decay and impermanence, reinforcing the speaker’s reflective tone. These images not only depict physical changes in landscapes but also evoke a sense of longing for a simpler, bygone era. Through his masterful use of imagery, Frost invites readers to contemplate the inevitable changes brought by time and the emotional resonance of lost places.
• How does Frost explore the relationship between memory and identity in “Directive”?
• In “Directive,” Frost intricately explores the interplay between memory and identity, weaving them into the fabric of the poem’s narrative. The poem reflects on memories as integral to shaping personal and communal identities. For instance, Frost describes how “two village cultures faded / Into each other,” suggesting a blending of histories and identities (Directive). This blending highlights how memories of the past contribute to collective identity and cultural continuity. The speaker’s directive to reconstruct a comforting narrative (“Make yourself up a cheering song”) underscores the role of memory in defining personal and cultural narratives. Frost’s exploration of memory as a construct that influences identity resonates deeply, inviting readers to reflect on their own connections to history and memory.
• What is the significance of the poem’s structural progression from description to directive?
• The structural progression of “Directive” from descriptive passages to direct instructions plays a crucial role in shaping the poem’s narrative and thematic depth. Frost begins with evocative descriptions of lost places and histories, setting a nostalgic tone with lines like “Back out of all this now too much for us” (Directive). These descriptions create a sense of longing and introspection as the speaker reminisces about a simpler past. As the poem unfolds, the speaker shifts to direct the reader towards introspection and engagement with the past (“You must not mind…”), mirroring the speaker’s guiding role in the narrative (Directive). This progression invites readers to journey alongside the speaker, contemplating themes of memory, loss, and the passage of time. Frost’s strategic structural choices enhance the poem’s intimacy and emotional resonance, guiding readers through a reflective exploration of history and identity.
• How does Frost use language and tone to create a sense of intimacy and guidance in “Directive
• “? Robert Frost employs language and tone masterfully in “Directive” to foster intimacy and provide gentle guidance to the reader. The poem’s language is intimate and conversational, inviting readers to participate in the speaker’s nostalgic journey through phrases like “make yourself at home” and directives to imagine past lives (“Someone’s road home from work this once was”) (Directive). Frost’s tone is contemplative and reassuring, encouraging readers to reflect on their own connections to history and memory alongside the speaker. The gentle, instructive tone creates a sense of shared experience and personal reflection, drawing readers into the speaker’s nostalgic exploration of the past. Through his adept use of language and tone, Frost establishes a profound connection with readers, guiding them through themes of memory, belonging, and the passage of time in “Directive.”

Literary Works Similar to “Directive” by Robert Frost

1. “The Road Not Taken” by Robert Frost: Another of Frost’s iconic poems, this one explores the theme of choices and their consequences, inviting readers to reflect on the paths they choose in life.
2. “Stopping by Woods on a Snowy Evening” by Robert Frost: This poem delves into themes of solitude, temptation, and the allure of the unknown, as a traveler pauses in a snowy woods, contemplating the mysteries of life and death.
3. “The Waste Land” by T.S. Eliot: A modernist masterpiece, this poem explores themes of disillusionment, spiritual emptiness, and the search for meaning in a fragmented world, employing a variety of allusions and fragmented narratives.
4. “Song of Myself” by Walt Whitman: This epic poem celebrates the individual, the natural world, and the interconnectedness of all things, offering a vision of spiritual transcendence and democratic ideals.
5. “The Love Song of J. Alfred Prufrock” by T.S. Eliot: This poem delves into the anxieties and insecurities of a modern man, grappling with feelings of isolation, inadequacy, and the fear of rejection.

Suggested Readings: “Directive” by Robert Frost

Representative Quotations of “Directive” by Robert Frost

Quotation	Context	Theoretical Perspectives
“Back out of all this now too much for us,”	The poem begins with a directive to retreat from overwhelming complexity and return to a simpler time.	New Criticism (Formalism): Emphasizes close reading of the text’s intrinsic elements like structure and language to interpret the poem’s introspective tone and thematic depth.
“Then make yourself up a cheering song of how / Someone’s road home from work this once was,”	The speaker encourages the reader to construct a comforting narrative about a lost past.	Psychoanalytic Criticism: Explores unconscious desires and motivations reflected in the speaker’s directive to reimagine a nostalgic narrative, revealing psychological themes of identity and nostalgia.
“The height of the adventure is the height / Of country where two village cultures faded / Into each other.”	Describes a place where two cultures merged and eventually disappeared.	Ecocriticism: Analyzes the poem’s engagement with natural environments and landscapes, reflecting on human interaction with and impact on the environment.
“Here are your waters and your watering place. / Drink and be whole again beyond confusion.”	Concludes with an invitation to drink from a stream and find clarity.	Reader-Response Theory: Focuses on the reader’s interpretation and emotional response to the speaker’s invitation, emphasizing the poem’s role in shaping personal meaning and experience.
“I have kept hidden in the instep arch / Of an old cedar at the waterside / A broken drinking goblet like the Grail”	Reveals a hidden treasure and invokes mythical imagery.	Mythological Criticism: Examines the poem’s use of mythical allusions like the Holy Grail, exploring how these references enrich the poem’s themes of quest and discovery.