Introduction: “The Black Cottage” by Robert Frost
“The Black Cottage” by Robert Frost first appeared in 1915 in his collection North of Boston, is a dramatic monologue spoken by a visitor to an abandoned cottage, reflecting on the life of its former inhabitant, a woman who held steadfastly to her traditional beliefs even as the world around her changed. The poem explores themes of loss, memory, and the enduring power of individual conviction. It is notable for its conversational style, vivid imagery, and Frost’s characteristic use of blank verse to create a sense of natural speech.
Text: “The Black Cottage” by Robert Frost
We chanced in passing by that afternoon
To catch it in a sort of special picture
Among tar-banded ancient cherry trees,
Set well back from the road in rank lodged grass,
The little cottage we were speaking of,
A front with just a door between two windows,
Fresh painted by the shower a velvet black.
We paused, the minister and I, to look.
He made as if to hold it at arm’s length
Or put the leaves aside that framed it in.
‘Pretty,’ he said. ‘Come in. No one will care.’
The path was a vague parting in the grass
That led us to a weathered window-sill.
We pressed our faces to the pane. ‘You see,’ he said,
‘Everything’s as she left it when she died.
Her sons won’t sell the house or the things in it.
They say they mean to come and summer here
Where they were boys. They haven’t come this year.
They live so far away-one is out west-
It will be hard for them to keep their word.
Anyway they won’t have the place disturbed.’
A buttoned hair-cloth lounge spread scrolling arms
Under a crayon portrait on the wall
Done sadly from an old daguerreotype.
‘That was the father as he went to war.
She always, when she talked about war,
Sooner or later came and leaned, half knelt
Against the lounge beside it, though I doubt
If such unlifelike lines kept power to stir
Anything in her after all the years.
He fell at Gettysburg or Fredericksburg,
I ought to know-it makes a difference which:
Fredericksburg wasn’t Gettysburg, of course.
But what I’m getting to is how forsaken
A little cottage this has always seemed;
Since she went more than ever, but before-
I don’t mean altogether by the lives
That had gone out of it, the father first,
Then the two sons, till she was left alone.
(Nothing could draw her after those two sons.
She valued the considerate neglect
She had at some cost taught them after years.)
I mean by the world’s having passed it by-
As we almost got by this afternoon.
It always seems to me a sort of mark
To measure how far fifty years have brought us.
Why not sit down if you are in no haste?
These doorsteps seldom have a visitor.
The warping boards pull out their own old nails
With none to tread and put them in their place.
She had her own idea of things, the old lady.
And she liked talk. She had seen Garrison
And Whittier, and had her story of them.
One wasn’t long in learning that she thought
Whatever else the Civil War was for
It wasn’t just to keep the States together,
Nor just to free the slaves, though it did both.
She wouldn’t have believed those ends enough
To have given outright for them all she gave.
Her giving somehow touched the principle
That all men are created free and equal.
And to hear her quaint phrases-so removed
From the world’s view to-day of all those things.
That’s a hard mystery of Jefferson’s.
What did he mean? Of course the easy way
Is to decide it simply isn’t true.
It may not be. I heard a fellow say so.
But never mind, the Welshman got it planted
Where it will trouble us a thousand years.
Each age will have to reconsider it.
You couldn’t tell her what the West was saying,
And what the South to her serene belief.
She had some art of hearing and yet not
Hearing the latter wisdom of the world.
White was the only race she ever knew.
Black she had scarcely seen, and yellow never.
But how could they be made so very unlike
By the same hand working in the same stuff?
She had supposed the war decided that.
What are you going to do with such a person?
Strange how such innocence gets its own way.
I shouldn’t be surprised if in this world
It were the force that would at last prevail.
Do you know but for her there was a time
When to please younger members of the church,
Or rather say non-members in the church,
Whom we all have to think of nowadays,
I would have changed the Creed a very little?
Not that she ever had to ask me not to;
It never got so far as that; but the bare thought
Of her old tremulous bonnet in the pew,
And of her half asleep was too much for me.
Why, I might wake her up and startle her.
It was the words ‘descended into Hades’
That seemed too pagan to our liberal youth.
You know they suffered from a general onslaught.
And well, if they weren’t true why keep right on
Saying them like the heathen? We could drop them.
Only-there was the bonnet in the pew.
Such a phrase couldn’t have meant much to her.
But suppose she had missed it from the Creed
As a child misses the unsaid Good-night,
And falls asleep with heartache-how should I feel?
I’m just as glad she made me keep hands off,
For, dear me, why abandon a belief
Merely because it ceases to be true.
Cling to it long enough, and not a doubt
It will turn true again, for so it goes.
Most of the change we think we see in life
Is due to truths being in and out of favour.
As I sit here, and oftentimes, I wish
I could be monarch of a desert land
I could devote and dedicate forever
To the truths we keep coming back and back to.
So desert it would have to be, so walled
By mountain ranges half in summer snow,
No one would covet it or think it worth
The pains of conquering to force change on.
Scattered oases where men dwelt, but mostly
Sand dunes held loosely in tamarisk
Blown over and over themselves in idleness.
Sand grains should sugar in the natal dew
The babe born to the desert, the sand storm
Retard mid-waste my cowering caravans-
‘There are bees in this wall.’ He struck the clapboards,
Fierce heads looked out; small bodies pivoted.
We rose to go. Sunset blazed on the windows.
Annotations: “The Black Cottage” by Robert Frost
| Line(s) | Annotation |
| 2-7 | These lines set the scene, establishing the cottage’s isolation and introducing the theme of memory. The image of the “tar-banded ancient cherry trees” and the “rank lodged grass” evokes a sense of neglect and decay, while the description of the cottage as “fresh painted by the shower a velvet black” hints at the hidden depths beneath its unassuming exterior. |
| 17-21 | This passage reveals the cottage’s connection to the past. The sons’ refusal to sell or disturb the house and their intention to return (though unfulfilled) speaks to the power of memory and the longing for a simpler time. |
| 22-31 | The portrait of the father who died in the war and the woman’s habit of kneeling beside it underscore the themes of loss and remembrance. The speaker questions whether the portrait still held emotional power for the woman after so many years, suggesting that memories can fade and lose their impact over time. |
| 32-44 | Here, the speaker reflects on how the cottage has become increasingly isolated and forgotten. The phrase “how forsaken a little cottage this has always seemed” emphasizes its desolation, while the mention of the world having passed it by introduces the theme of societal change and the passage of time. |
| 53-59 | This section reveals the woman’s strong convictions and her unwavering belief in the principles of freedom and equality. Her views on the Civil War, which went beyond the simple goals of preserving the Union and ending slavery, demonstrate her deep-rooted moral compass. |
| 60-68 | The speaker grapples with the complexity of Thomas Jefferson’s words in the Declaration of Independence, acknowledging the ongoing debate about the meaning and validity of the phrase “all men are created equal.” This introduces the theme of conflicting interpretations and the enduring nature of philosophical questions. |
| 72-77 | This passage highlights the woman’s isolation from the changing world around her. She remains steadfast in her beliefs, seemingly unaware or uninterested in the evolving perspectives of the “latter wisdom of the world.” |
| 85-88 | The speaker’s question, “What are you going to do with such a person?” expresses a mixture of amusement, admiration, and perhaps a touch of exasperation at the woman’s unwavering convictions. The phrase “Strange how such innocence gets its own way” suggests that sometimes, steadfast belief can triumph over skepticism and doubt. |
| 95-107 | This section reveals a turning point for the speaker, who admits that he once considered altering the church creed to appease younger members. However, the thought of the old woman and her unwavering faith prevented him from doing so. This emphasizes the power of individual conviction and the importance of respecting tradition. |
| 114-120 | The speaker concludes with a philosophical reflection on the nature of truth and belief. He suggests that truths can come in and out of favor, and that holding onto a belief long enough can make it true again. This idea speaks to the power of faith and the human capacity for self-deception. |
| 121-138 | In the final lines, the speaker envisions a desert kingdom devoted to unchanging truths, a place untouched by progress and the relentless march of time. This vision serves as a poignant contrast to the changing world outside the cottage and underscores the poem’s themes of memory, tradition, and the enduring power of belief. |
Literary And Poetic Devices: “The Black Cottage” by Robert Frost
| Device | Definition | Example from Text | Explanation |
| Imagery | Language that appeals to the senses. | “tar-banded ancient cherry trees” | Frost uses visual imagery to paint a vivid picture of the cottage’s surroundings, enhancing the nostalgic and serene atmosphere. |
| Alliteration | Repetition of the same consonant sounds at the beginning of words. | “tar-banded” | This sound repetition draws attention to the description, adding a rhythmic quality to the line. |
| Simile | A comparison using “like” or “as.” | “Fresh painted by the shower a velvet black.” | Compares the paint’s appearance to velvet, emphasizing its rich, deep texture. |
| Personification | Giving human qualities to non-human things. | “The warping boards pull out their own old nails” | Suggests the house itself is alive and aging, contributing to the theme of decay and nostalgia. |
| Anaphora | Repetition of words at the beginning of successive clauses. | “She had her own idea of things, the old lady.” | Emphasizes the old lady’s strong individuality and convictions. |
| Metaphor | A direct comparison between two unrelated subjects. | “Sand grains should sugar in the natal dew” | This metaphor suggests a transformation or softening, contributing to the theme of nature and time. |
| Enjambment | The continuation of a sentence without a pause beyond the end of a line. | “She had seen Garrison / And Whittier, and had her story of them.” | This technique maintains the poem’s conversational tone and reflects the flowing memories of the old lady. |
| Historical Reference | Referring to real historical events or figures. | “He fell at Gettysburg or Fredericksburg” | Anchors the poem in a specific historical context, enhancing its realism and depth. |
| Symbolism | Using symbols to represent ideas or qualities. | “The Black Cottage” | The cottage symbolizes the past and the changes wrought by time and history. |
| Hyperbole | Exaggerated statements not meant to be taken literally. | “trouble us a thousand years” | Exaggerates to emphasize the long-lasting impact of philosophical or societal principles. |
| Contrast | Highlighting differences between two or more elements. | “White was the only race she ever knew.” | Frost contrasts the old lady’s limited racial experiences with broader societal changes, highlighting generational gaps. |
| Irony | A contrast between expectation and reality. | “Merely because it ceases to be true.” | This line ironically comments on the persistence of outdated beliefs, questioning their validity and impact. |
| Paradox | A statement that contradicts itself but might include a latent truth. | “Cling to it long enough, and not a doubt / It will turn true again” | Highlights the peculiar nature of belief and truth, suggesting that persistence can alter reality. |
| Apostrophe | Addressing a person or entity not present as though they can respond. | Addressing the old lady indirectly through her actions and beliefs. | This device personalizes and dramatizes the reflections on the old lady, making her more vivid to the reader. |
| Oxymoron | Combining two contradictory terms. | “considerate neglect” | This oxymoron captures the complex relationship between the old lady and her sons, filled with care yet distance. |
| Dialogue | Characters speaking to each other or the narrator. | “‘Pretty,’ he said. ‘Come in. No one will care.’” | Dialogue is used to advance the narrative and reveal character traits and attitudes. |
| Motif | A recurring theme or element. | Recurrences of references to historical events and beliefs. | The motif of historical reflection underscores the poem’s contemplative tone and theme of change. |
| Assonance | Repetition of vowel sounds within words. | “Blown over and over themselves in idleness.” | This repetition enhances the musicality of the lines and emphasizes the languid atmosphere of the setting. |
| Juxtaposition | Placing two elements close together to present a comparison or contrast. | “Black she had scarcely seen, and yellow never.” | Frost juxtaposes the old lady’s racial experiences to comment on her isolated world view. |
| Tone | The attitude or approach that the author takes toward the work’s central theme. | Reflective and somewhat nostalgic. | The tone adds depth to the poem’s themes, inviting the reader to ponder the implications of time and change. |
Themes: “The Black Cottage” by Robert Frost
- The Inevitability of Change and the Passage of Time: The poem underscores the relentless march of time and the transformations it brings. The decaying cottage, with its “warping boards” and “own old nails,” serves as a tangible metaphor for the passage of time and the inevitability of change. The minister’s reflection on how far fifty years have brought them (“It always seems to me a sort of mark/To measure how far fifty years have brought us”) highlights the stark contrast between the past and present, emphasizing that progress and societal shifts leave behind remnants of the past, like the old woman’s outdated beliefs.
- Memory and the Persistence of the Past: The poem delves into the power of memory to preserve the past, even as the world moves on. The old woman’s sons’ reluctance to alter the cottage and their unfulfilled promise to return (“They say they mean to come and summer here/Where they were boys”) speaks to the emotional connection people have to places and the memories they hold. The crayon portrait of the father, the woman’s habit of kneeling beside it, and the preservation of the cottage’s contents all demonstrate the enduring power of memory to keep the past alive, even in the face of change.
- Conflicting Perspectives and the Relativity of Truth: The poem explores the clash between tradition and progress, as embodied by the old woman’s steadfast beliefs and the changing world around her. Her unwavering faith in the principles of equality and freedom, shaped by her experiences during the Civil War, contrasts with the evolving social landscape and the minister’s more nuanced perspective. The poem raises questions about the nature of truth, suggesting that it is not always absolute but can be shaped by individual experiences and historical context. The line “Each age will have to reconsider it” (referring to Jefferson’s words) highlights the ongoing need to re-evaluate and reinterpret truths in light of new information and changing societal values.
- The Power of Individual Conviction: Despite her isolation and the world’s indifference to her views, the old woman’s steadfast belief in her principles is a central theme. The speaker is both fascinated and perplexed by her unwavering conviction, even questioning whether “such innocence” might ultimately prevail. The old woman’s influence on the minister’s decision to maintain the traditional church creed (“I’m just as glad she made me keep hands off”) demonstrates the power of individual conviction to shape not only personal beliefs but also communal practices and traditions. The poem suggests that even in the face of overwhelming change and opposing viewpoints, the strength of individual conviction can have a lasting impact.
Literary Theories and “The Black Cottage” by Robert Frost
| Literary Theory | References from the Poem | Critique |
| New Criticism/Formalism | Focus on the poem’s structure, language, and imagery: the use of blank verse, the vivid descriptions of the cottage and its surroundings, the conversational tone of the monologue. | This approach allows for a deep analysis of the poem’s craft and aesthetic qualities. However, it may overlook the broader social and historical context in which the poem was written, as well as the potential for multiple interpretations beyond the text itself. |
| Reader-Response Criticism | Emphasis on the reader’s personal interpretation and emotional response to the poem: the varying reactions to the old woman’s beliefs, the sense of nostalgia or melancholy evoked by the decaying cottage. | This approach recognizes the subjective nature of literary interpretation and the active role of the reader in constructing meaning. However, it may neglect the author’s intended meaning or the cultural and historical factors that shape the text. |
| Historical/Cultural Criticism | Consideration of the historical context of the poem: the aftermath of the Civil War, the changing social landscape of early 20th-century America, the debate over Jeffersonian ideals. | This approach helps to illuminate the poem’s engagement with broader social and political issues. However, it may risk reducing the poem to a mere reflection of its historical context, overlooking its artistic merit and universal themes. |
Critical Questions about “The Black Cottage” by Robert Frost
- How does the setting of the black cottage contribute to the poem’s themes of memory and the passage of time?
- The dilapidated state of the cottage, nestled among “tar-banded ancient cherry trees” and “rank lodged grass,” serves as a physical manifestation of decay and neglect. This imagery, coupled with the description of the interior frozen in time, with “everything’s as she left it when she died,” creates a poignant contrast between the past and present. The cottage becomes a symbolic space where memories linger, resisting the relentless march of time, while the surrounding landscape reflects the inevitable changes that occur in the external world.
- In what ways does the poem explore the tension between tradition and progress?
- The poem juxtaposes the old woman’s steadfast adherence to tradition, as exemplified by her unwavering belief in the principles of equality and freedom shaped by the Civil War, with the minister’s acknowledgment of the changing world and evolving social values. The old woman’s resistance to changing the church creed and her isolation from the “latter wisdom of the world” highlight the challenges of reconciling traditional beliefs with the demands of progress. This tension raises questions about the value of preserving tradition in the face of change and the potential for conflict between individual conviction and societal norms.
- What is the significance of the minister’s changing attitude towards the old woman’s beliefs throughout the poem?
- Initially, the minister seems somewhat dismissive of the old woman’s outdated views, referring to them as “quaint phrases” and questioning their relevance in the modern world. However, as the poem progresses, he reveals a growing respect for her unwavering faith and the power of individual conviction. This shift is evident in his decision to preserve the traditional church creed and his reflection on the potential for beliefs to “turn true again” if held onto long enough. This evolving attitude suggests a recognition of the value of diverse perspectives and the importance of respecting individual beliefs, even when they conflict with prevailing norms.
- How does Frost use language and imagery to evoke a sense of nostalgia and melancholy in the poem?
- The poem’s language is rich in sensory details, creating a vivid picture of the abandoned cottage and its surroundings. The use of words like “forsaken,” “weathered,” and “warping” evokes a sense of decay and neglect, while the image of the sunset “blazing on the windows” at the end of the poem creates a poignant contrast between the warmth of the past and the encroaching darkness of the present. The conversational tone of the monologue, with its pauses and digressions, contributes to a sense of intimacy and reflection, inviting the reader to share in the speaker’s melancholic musings on the passage of time and the fading of memories.
Literary Works Similar to “The Black Cottage” by Robert Frost
- “The Ruined Cottage” by William Wordsworth: Both poems explore themes of abandonment, decay, and the passage of time, with a focus on the remnants of lives once lived.
- “Directive” by Robert Frost: Like “The Black Cottage,” “Directive” contemplates the loss of the past and the search for meaning in a changing world, using the motif of a journey to a forgotten place.
- “The Love Song of J. Alfred Prufrock” by T.S. Eliot: Both poems delve into themes of isolation, alienation, and the difficulty of communication in a modern, fragmented society.
- “Elegy Written in a Country Churchyard” by Thomas Gray: Both poems meditate on mortality, memory, and the lives of ordinary people, using the setting of a graveyard or abandoned dwelling to evoke a sense of loss and contemplation.
- “The Wild Swans at Coole” by W.B. Yeats: Both poems explore themes of change, loss, and the passage of time through vivid imagery of the natural world and a contemplative tone.
Suggested Readings: “The Black Cottage” by Robert Frost
- Frost, Robert. “The Black Cottage.” Poems One. Accessed July 28, 2024. www.poems.one.
- Frost, Robert. “The Black Cottage.” PoetrySoup.com. Accessed July 28, 2024. www.poetrysoup.com.
- Frost, Robert. “The Black Cottage.” PoetryVerse. Accessed July 28, 2024. www.poetryverse.com.
- Frost, Robert. “The Black Cottage – Robert Frost Poems.” Quills Literacy. Accessed July 28, 2024. robertfrost.quillsliteracy.org.
- “Robert Frost: The Black Cottage.” Day Poems. Accessed July 28, 2024. www.daypoems.net.
- “Summary Poem Analysis of ‘The Black Cottage’ by Robert Frost.” Stuvia UK. Accessed July 28, 2024. www.stuvia.com.
- “The Black Cottage Analysis by Robert Frost.” Beaming Notes. Accessed July 28, 2024. www.beamingnotes.com.
- “The Black Cottage: by Robert Frost – Summary & Analysis.” English Literature Info. Accessed July 28, 2024. www.englishliterature.info.
- “The Black Cottage, by Robert Frost.” Poeticous. Accessed July 28, 2024. www.poeticous.com.
- Worner, Tod. “Robert Frost, The Black Cottage & The Truth.” Patheos. Accessed July 28, 2024. www.patheos.com.
Representative Quotations of “The Black Cottage” by Robert Frost
| Quotation | Context | Theoretical Perspective |
| “Everything’s as she left it when she died.” | The minister, while looking through the window of the cottage, emphasizes the preservation of the past and the resistance to change. | New Historicism: This quote highlights the cultural value placed on preserving artifacts and memories of the past, reflecting a society grappling with rapid modernization. |
| “Her giving somehow touched the principle/That all men are created free and equal.” | The speaker reflects on the old woman’s deep-rooted belief in equality, stemming from her experiences during the Civil War. | Feminist Theory: This quote highlights the often overlooked contributions of women to social and political movements, challenging traditional historical narratives that marginalize their voices. |
| “What are you going to do with such a person?/Strange how such innocence gets its own way.” | The speaker expresses a mixture of amusement and admiration for the old woman’s unwavering convictions, despite their seeming incompatibility with the modern world. | Reader-Response Criticism: This quote invites readers to reflect on their own reactions to the old woman’s character and beliefs, prompting them to consider the value of steadfastness and the power of individual conviction. |
| “Why, I might wake her up and startle her.” | The minister recalls being hesitant to alter the church creed out of respect for the old woman’s faith, fearing he might disrupt her peaceful slumber. | Psychoanalytic Theory: This quote hints at the minister’s unconscious desire to protect the old woman from the harsh realities of a changing world, suggesting a subconscious longing for a simpler, more stable past. |
| “Cling to it long enough, and not a doubt/It will turn true again, for so it goes.” | The speaker reflects on the cyclical nature of truth and the power of belief to shape reality. | Postmodernism: This quote challenges the notion of objective truth, suggesting that reality is constructed through language and cultural narratives, and that even seemingly outdated beliefs can regain relevance in a different context. |