The juxtaposition of the light and darkness (and ultimately the emptiness) of white is a concept that is strongly emphasized in “Design”. Frost first descries the spider as “dimpled… fat and white” (line 1) which gives the spider the resemblance of a friendly perhaps even cute baby. Even though the heal-all is described as being white, when normally its flowers are blue-purple, there is not a sense of malice, since heal-alls are a kind of flower that holds a medicinal value. Also mentioned in the poem is a moth that looks “Like a white piece of satin cloth”, which is another description of a seemingly harmless character. In lines 7 and 8, Frost continues using inconspicuous and innocuous objects, “A snow-drop… a froth… a paper kite”, to describe the trio of white characters.
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However, beginning in line 4, the poem acquires an ominous tone when Frost now refers to the spider, the flower and the moth as “Assorted characters of death and blight”. The situation continues to degenerate, with Frost now associating the meeting of the three white characters with black magic, through the use of the terms “morning right” (line 5), or ritual, and “witches’ broth” (line 6). At this point readers see the hidden evil or darkness that Frost associates with the color white. Through the process of exposing the true meaning behind the white trio, Frost wonders whether there is some sort of nefarious design, or plan, at work that can not only take traditionally pure objects and pervert them, but also bring all three characters together for that exact encounter at that exact time. Yet ultimately, Frost ends the poem in an ambiguous manner and instead of answering his own question, poses another for the reader.
(Taken from http://www.wildriverreview.com/4/images/art-sd_fate.jpg)
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