A Study of Symbols and Imagery in the poems by Robert Frost

Han Nay Aung*

Abstract
This study focuses on the analysis of symbols and imagery found in poetry.
It employs the symbolism theory proposed by Pickering and Hoeper (1986) and the
imagery theory developed by Lawrence Perrine (1992) as research tools. The
primary aim of this study is to analyze the symbols and imagery present in the
poems of Robert Frost. To support this aim, three specific objectives have been
established: (i) to identify the types of symbolism and imagery in each line of the
poems, (ii) to examine the poetic language and the meanings behind these types of
symbolism and imagery, and (iii) to explore the relationships between these
themes, meanings, and symbols within the poems. This study utilizes a descriptive
qualitative method. The findings indicate that the use of original symbolism and
visual imagery is the most dominant aspect, with a close interrelation in terms of
intertwined meanings and thematic constructions. In summary, Frost's use of
symbols and imagery aligns with the themes of his poems. Although he is a 20th-
century poet who focused on modernism rather than stereotypes, his work does not
exhibit significant modernization. It is also evident that his adherence to traditional
poetic conventions, combined with his emphasis on themes through the brilliant
use of symbols and imagery, fosters a strong relationship among the themes,
symbols, and imagery in his poetry.
Keywords: symbolism, imagery, theme, poem and poetry.

1. Introduction
Language serves as the primary instrument through which poets construct
their compositions. Literary analysis facilitates the exploration of the multifaceted
meanings embedded within a poem. Symbolism and imagery are essential
components that enhance the poetic form, fostering emotional depth and a more
profound comprehension. Through the examination of the interplay between these
elements, readers can gain a greater appreciation for the intricacy and artistry
inherent in poetry
Language serves as a symbolic system of communication that connects
individuals and facilitates various purposes of interaction. It also plays a crucial
role in conveying cultural and social norms. As a form of symbolic expression,
language represents objects, ideas, emotions, feelings, thoughts, and more. This
symbolic nature is evident not only in everyday life but also in literature. Among
the various literary forms, poetry stands out as the most prominent medium
where symbolic language is frequently employed. Furthermore, these symbols are
powerful tools for expressing human ideas, imagination, and emotions through
poetry.
According to Dunton (1911), poetry serves as a concrete and artistic
expression of the human mind. In academic contexts, symbols play a crucial role
in poetry; they are words or phrases employed by the author to convey implied
meanings within the poem.
Poetry is a branch of literature that employs words as a medium to evoke
illusions and stimulate the imagination, much like paintings utilize lines and colors
to convey the artist's ideas (Hudson, as cited in Aminuddin, 1995).
Literary theory focused on poetry examines, among other aspects, the
relative significance of various perspectives on poems. A poem can be understood
both as a structured arrangement of words (a text) and as an event—
encompassing the act of the poet, the experience of the reader, and its place in
literary history. When considering the poem as a verbal construction, a key

*Assistant Lecturer, Department of English, Yadanabon University

 2

question arises regarding the relationship between meaning and the non-semantic
features of language, such as sound and rhythm.
The predominant method of appreciating poetry in schools and universities
has been to concentrate on the complexities of the speaker's attitude, viewing the
poem as a dramatization of the thoughts and feelings of a speaker that one
reconstructs. This approach is effective for analyzing lyric poetry, as many poems
feature a speaker engaging in recognizable speech acts, such as reflecting on the
significance of an experience, admonishing a friend or lover, or expressing
admiration or devotion. Symbols serve as signs used to describe or convey
meaning within the poem. (Stanton, 2007).
1.1. Aim and Objectives
The aim of this research is to analyze 32 poems from Robert Frost's poetry
collection, “A Boy’s Will”, through the lenses of symbolism and imagery, and to
assess their contributions to the themes and meanings of his works. To support
this aim, three objectives have been established: (i) to identify the types of
symbolism and imagery present in each line of the 32 poems, (ii) to examine the
poetic language and the meanings behind these types of symbolism and imagery,
and (iii) to explore the relationships between the thematic meanings, imagery,
and symbols in these poems.
1.2. Research Questions
There are four research questions in this study that align with its aims and
objectives.
(i) What types of symbols and imagery are the most and least frequent in
these poems?
(ii) What poetic language, symbols, and imagery are present in the poem, and
what meanings do they convey?
(iii)Is there a relationship between the symbols and imagery present in the
poems?
(iv) Is there any intended meaning beyond the symbolic uses found in
the poems?
This literary analysis focuses on symbolism and imagery. In poetry,
symbolism refers to the use of symbols—objects, characters, or actions that
represent meanings beyond their literal interpretation. A symbol in a poem often
embodies abstract ideas, emotions, or concepts, enabling the poet to convey
complex meanings in a more nuanced and indirect manner. Symbolism can
enhance the thematic significance of a poem, enriching the reader's experience.
There are several fundamental frameworks for analyzing symbolism in poetry.
The focus of this research is on the poetry collection symbolism and
imagery as its primary analytical approaches. The nature of poetry is inherently
complex, making it challenging to uncover the actual or intended meanings solely
through the text of the poems. They often contain numerous symbolic figures of
speech and imaginative messages that extend beyond the literal words. This
complexity is a key reason for selecting symbolism and imagery as the focal
points of this research.
In addition, both approaches are logically interconnected when analyzing
their themes and meanings. This suggests that it is worthwhile to conduct
research on the relationships among themes, meanings, symbols, and imagery.
Clearly, poetry serves as a prominent field for such research. Through this type of
analysis, one can also explore various styles of language use and their
relationships to meaning and theme in the respective literary works.
Symbolism, imagery, and poetry are three prominent and fascinating
areas for analyzing literary works. They provide valuable insights into stylistic
elements, meaning interpretation, literary devices, and the perceptions
surrounding them. This study emphasizes the critical roles of symbolism and
 3

imagery in poetry, highlighting how these elements enhance both the aesthetic
appeal and interpretative depth of poetic works. Imagery serves as the sensory
basis of a poem, while symbolism adds layers of meaning, facilitating a deeper
exploration of abstract themes. The interplay between these devices transforms
poetry into a dynamic art form that resonates with readers across time, inviting
them to engage with the complexities of human experience. By examining the
relationship between symbolism and imagery, the paper advocates for a richer
appreciation of poetry's capacity to convey profound insights concisely and
evocatively.
2. LITERATURE REVIEW
”Into My Own"
This poem explores a young person’s longing for independence and self-
discovery. The speaker imagines walking into a dark, endless forest, symbolizing
personal growth and the unknown future. They believe that once they venture into
this mysterious place, they will gain a deeper sense of self. The poem reflects
themes of individuality, self-reliance, and the journey toward maturity.
"Stars"
Frost portrays the stars as distant, unwavering, and beyond human reach.
He contrasts their silent, steady existence with the impermanence and struggles
of human life. The stars symbolize guidance, constancy, and a sense of mystery.
The poem suggests that while humans are drawn to the stars, they remain
separated by an unbridgeable gap, emphasizing the contrast between earthly
concerns and cosmic permanence.
"A Late Walk"
This poem captures the melancholy beauty of autumn’s end. The speaker
takes a walk through a field that is nearly barren, with fallen leaves and signs of
approaching winter. The imagery conveys a sense of loss and nostalgia, but the
poem ends with a small moment of hope—a late-blooming flower, symbolizing
resilience and renewal. It reflects themes of change, endings, and fleeting beauty.
2.1. Brief Biography of Robert Frost
Robert Frost (1874–1963) was an American poet renowned for his
portrayals of rural life and his command of traditional verse. Born in San
Francisco, he relocated to New England following his father's death, a region that
profoundly shaped his poetry. Despite facing early challenges, he achieved
recognition with his collections *A Boy’s Will* (1913) and *North of Boston* (1914)
while residing in England. Frost won four Pulitzer Prizes and became one of
America’s most celebrated poets, renowned for works such as Road Not Taken,
by Woods on a Snowy Evening, and His poetry frequently explored themes of
nature, individualism, and existential reflection, skillfully blending simple language
with profound philosophical insights. He was honored as the U.S. Poet Laureate
and recited a poem at John F. Kennedy’s inauguration. He passed away in 1963,
leaving a lasting impact on American literature.
2.2. Theoretical Background
Three Types of Symbolism
According to Pickering and Hoeper (1986), there are three common types of
symbolism: (i) Conventional or Traditional Symbols, (ii) Personal or Private
Symbols, and (iii) Universal or Original Symbols.
(i) Conventional or Traditional Symbol
Conventional or traditional symbolism refers to the use of symbols that have
widely recognized meanings within a specific culture, tradition, or society. These
symbols are not arbitrary; their meanings are generally agreed upon by the
members of that community. They can convey complex ideas, beliefs, or concepts
in a simplified manner. Conventional symbolism is often found in art, literature,
religion, rituals, and other forms of cultural expression.
 4

(ii)Personal or Private Symbol

Personal or private symbols are symbols that hold specific meanings for an
individual, rather than being widely understood or recognized by society or a
particular culture. These symbols are often unique to a person's experiences,
memories, emotions, or private beliefs, and their meanings may not be
immediately apparent to others. Personal symbols can carry significant emotional
or psychological value.
(iii) Universal or Original Symbol
Universal or Original Symbolism refers to symbols that possess meanings
transcending cultural, societal, and individual boundaries. These symbols are
often innate or universally recognized across various societies and time periods,
connecting to fundamental human experiences or natural elements. They tend to
evoke emotions, ideas, or concepts that resonate on a profound, almost
instinctual level, often grounded in shared human psychology, biology, or
spirituality.
[Link]
Imagery is a powerful literary tool that enables writers to create vivid,
sensory-rich experiences for their readers. It appeals to the senses, painting
pictures in the mind of the reader and enhancing the emotional or intellectual
impact of a story, poem, or other literary work. Imagery is not confined to merely
visual representations but extends to all the senses—sight, sound, touch, taste,
and smell—and even emotions and internal sensations. According to Laurence
Perrine (1992), there are seven main types of imagery, each evoking a different
sensory or emotional experience.
1. Visual Imagery
Visual imagery is perhaps the most commonly recognized type of imagery.
It appeals to the sense of sight, allowing readers to visualize scenes, objects,
characters, or landscapes in a detailed and vivid manner. This type of imagery
uses descriptive language that evokes clear pictures, colors, shapes, and spatial
arrangements. Visual imagery helps set the scene and builds a strong foundation
for the reader’s experience.
2. Auditory Imagery
Auditory imagery appeals to the sense of hearing. It involves words and
descriptions that evoke sounds, whether they are loud, soft, musical, harsh, or
anything in between. Writers use auditory imagery to evoke the sound of voices,
nature, machinery, or anything that makes a noise. It can bring to life the
background sounds of a setting or heighten the emotional atmosphere.
3. Olfactory Imagery
Olfactory imagery refers to descriptions that evoke smells, whether
pleasant or unpleasant. This type of imagery can be particularly evocative, as
smells are deeply connected to memory and emotion. Certain scents can trigger
nostalgia, discomfort, or pleasure, making olfactory imagery a powerful tool for
emotional resonance in a narrative or poem.
4. Gustatory Imagery
Gustatory imagery appeals to the sense of taste. It describes flavors,
textures, and the overall experience of eating or drinking. This type of imagery
can be used to convey the pleasure of food, the unpleasantness of a taste, or
even metaphorical ideas about nourishment or deprivation.

5. Tactile Imagery
Tactile imagery appeals to the sense of touch. It describes physical
sensations of contact, including temperature, texture, pressure, and other tactile
experiences. Tactile imagery helps create a visceral sense of the physical world
and brings depth to scenes involving interaction with objects or the environment.
 5

6. Organic Imagery
Organic imagery focuses on internal sensations, such as feelings, emotions,
or physical experiences within the body. This type of imagery represents internal
states such as hunger, fatigue, nausea, fear, and longing. Organic imagery goes
beyond the physical world to evoke the emotional or physiological states of
characters, offering insights into their emotional journeys.
7. Kinesthetic Imagery
Kinesthetic imagery involves the sense of movement or action. It describes
a physical movement or the sensation of motion, often portraying a character's
actions, gestures, or the movement of objects or the environment. Kinesthetic
imagery is especially important in dynamic scenes, where energy, tension, and
action need to be conveyed to the reader.
2.3. Related Research
The first research is “An Analysis of Symbolism in Robert Frost’s Poems”
accomplished by Aldila Ilma Aziza (2023). The collected data are analyzed
according to Charles Sanders Pierce’s Semiotics Theory. In that research, the
symbols of the meaning illustrate Robert Frost’s feelings by using a comparison of
life with nature. That study explained how a symbol in a poetic work will increase
our sensitivity and intelligence in translating the signifier, to Charles Sander
Peirce’s theory based on the subject. Based on the results of the symbol analysis
in that research, many of the synonyms of nature are used to describe the
connotation and meaning of existing life. The findings suggested that there are
several symbolic meanings in each poem of Robert Frost and Robert Frost can
properly supplement the symbols and meanings of natural life which become a
beautiful harmony for his readers.
The second research is “An Analysis of Symbolic Signs in John Milton’s
Poems: Semiotic Approach” done by Milton Viensen (2020). In that study, the
researcher focused on finding the symbols, the meaning, and the kind of symbols
used in three poems titled On His Blindness, On His Deceased Wife, and On His
Being Arrived to the Age of Twenty-three. The researcher used a semiotic
approach and descriptive qualitative method in that research. In the process of
collecting data, the researcher used the documentation method and to analyze
the collected data, Riffaterre’s semiotics theory is used. Most of the symbols that
were used in the poems were personal symbols to highlight John Milton’s
experience and some of them were conventional symbols, especially Cristian
symbols.
The third research is “An Analysis of The Symbols in Westlife Song Lyrics”
(2019) by Hanna Eka Rosita. In that study, the meaning and the kind of symbols
are used in Westlife songs. The researcher used a semiotic approach and
descriptive qualitative method in that research. In the process of collecting data,
the researcher used the documentation method and to analyze the collected data,
Charles Sanders Pierce’s theory is used. Most of the symbols that were used in the
songs are symbols of color.
3. RESEARCH METHODOLOGY
This chapter consists of a data collection and data analysis section. The
dissertation employs a descriptive qualitative research method. 32 poems by
Robert Frost from the poetry book “A Boy’s Will” served as the basis for this study
material. Among them, 6 poems are randomly selected as a sample data analysis.
Here, various symbols and imageries are examined through three types of
symbolism classifications by Pickering and Hoeper (1986) and seven types of
imagery by Perrine (1992). The data collection is presented in terms of tabulated
format and the data analysis is also shown in tables and figures.
Every line of all poems is analyzed and shown in different colors and tables.
All the results from this analysis are described in a numerical table format by
 6

means of frequency and percentage. Later, the findings are exhibited into figures
and discussed by the focused theories.
In Symbolism analysis, there are three categories and they are (i)
Traditional Symbolism [shown in terms of short form (TS)], (ii) Private Symbolism
[shown in terms of short form (PS)] and (iii) Original Symbolism [shown in terms of
short form (OS)].
In Imagery analysis, there are seven types, and they are (i) Visual Imagery (VI),
(ii) Auditory Imagery (AI), (iii) Olfactory Imagery (OI), (iv) Gustatory Imagery (GI),
(v) Tactile Imagery (TI), (vi) Organic Imagery (ORI) and (vi) Kinesthetic Imagery
(KI).
3.1. Sample Data Processing
[Link] Poem No. 1
In the following Table 1, analysis of symbolism found in the poem Into My
Own is described as follow.
Table 1: Analysis of Symbolism Found in the Poem Into My Own
Types of
No Tota
Poem Line Symbolism
. l
TS PS OS
One of my wishes is that those dark
1. trees, - 1 - 1

So old and firm they scarcely show the

2. - - 1 1
breeze,
Were not, as 'twere, the merest mask
3. 1 - - 1
of gloom,
But stretched away unto the edge of
4. 1 - 1
doom
I should not be withheld but that some
5. - - - 0
day
6. Into their vastness I should steal away, - 1 - 1
7. Fearless of ever finding open land, - 1 2 3
Or highway where the slow wheel pours
8. the 2 - - 2
sand.
9. I do not see why I should e'er turn back, - - - 0
Or those should not set forth upon my
10. - 1 - 1
track
To overtake me, who should miss me
11. - - - 0
here
And long to know if still I held them
12. - - - 0
dear.
They would not find me changed from
13. him - 1 - 1
they knew '
Only more sure of all I thought was
14. - - - 0
true.
Total 4 5 3 12
In the following Table 2, analysis of imagery found in the poem Into My Own
is described as follow.
Table 2: Analysis of Imagery Found in the Poem Into My Own
No Types of Imagery Tota
Poem Line
. VI AI OI GI TI ORI KI l
1. One of my wishes is that those dark 1 - - - - 1 - 2
 7

trees,

So old and firm they scarcely show the

2. 2 - 1 - - - 2 5
breeze,
Were not, as 'twere, the merest mask
3. 2 - - - - - - 2
of gloom,
But stretched away unto the edge of
4. 1 - - - - - 1 2
doom
I should not be withheld but that some
5. 1 - - - - - 1 2
day
6. Into their vastness I should steal away, 1 - - - - - 1 2
7. Fearless of ever finding open land, 1 - - - - 1 2 4
Or highway where the slow wheel pours
8. the 3 - - - - - 2 5
sand.
9. I do not see why I should e'er turn back, 1 - - - - - 1 2
Or those should not set forth upon my
10. 1 - - - - - 1 2
track
To overtake me, who should miss me
11. - - - - - 1 1 2
here
And long to know if still I held them
12. - - - - - 2 - 2
dear.
They would not find me changed from
13. him - - - - - 1 2 3
they knew '
Only more sure of all I thought was
14. - - - - - - 3 3
true.
Total 14 - 1 - - 6 17 38
[Link] Poem No. 2
In Table 3, the analysis of symbolism found in the poem Stars is described
as follows.
Table 3: Analysis of Symbolism Found in the Poem Stars
Types of
No Tota
Poem Line Symbolism
. l
TS PS OS
1. How countlessly they congregate - - - -
2. O'er our tumultuous snow, - - 1 1
3. Which flows in shapes as tall as trees - 1 1 2
4. When wintry winds do blow! - - 1 1
5. As if with keenness for our fate, - 1 1 2
6. Our faltering few steps on - 1 - 1
7. To white rest, and a place of rest 1 - 1 2
8. Invisible at dawn, - - 1 1
9. And yet with neither love nor hate, - - 2 2
10. Those stars like some snow-white - - 2 2
11. Minerva's snow-white marble eyes 1 - 3 4
12. Without the gift of sight - - 1 1
Total 2 3 14 19

In Table 4, the analysis of imagery found in the poem Stars is described as

follows.
 8

Table 4: Analysis of Imagery Found in the Poem Stars

No Types of Imagery Tota
Poem Line
. VI AI OI GI TI ORI KI l
1. How countlessly they congregate 1 - - - - - 1 2
2. O'er our tumultuous snow, 2 - - - - - - 2
Which flows in shapes as tall as
3. 3 - - - - - 1 4
trees
4. When wintry winds do blow! 1 - - - 1 - 1 3
5. As if with keenness for our fate, 1 - - - - 1 - 2
6. Our faltering few steps on - - - - - - 2 2
7. To white rest, and a place of rest 2 - - - - - 2 4
8. Invisible at dawn, 1 - - - - 1 - 2
And yet with neither love nor
9. - - - - - 2 - 2
hate,
10. Those stars like some snow-white 2 - - - - - - 2
11. Minerva's snow-white marble eyes 3 - - - - - - 3
12. Without the gift of sight 1 - - - - - - 1
Total 17 - - - 1 4 7 29
[Link] Poem No. 3
In Table 5, the analysis of symbolism found in the poem A Late Walk is
described as follows.
Table 5: Analysis of Symbolism Found in the Poem A Late Walk
Types of
No. Poem Line Symbolism Total
TS PS OS
1. When I go up through the mowing field, - 1 1 2
2. The headless aftermath, - 1 1 2
3. Smooth-laid like thatch with the heavy dew, 1 - 1 2
4. Half closes the garden path. - 1 1 2
5. And when I come to the garden ground, - - 1 1
6. The whir of sober birds - 1 1 2
7. Up from the tangle of withered weeds - 1 1 2
8. Is sadder than any words. - 1 - 1
9. A tree beside the wall stands bare, - - 2 2
10. But a leaf that lingered brown, 1 - 1 2
11. Disturbed, I doubt not, by my thought, - 1 - 1
12. Comes softly rattling down. - - - -
13. I end not far from my going forth - - 1 1
By picking the faded blue
14. 1 - 1
15. Of the last remaining aster flower - 1 - 1
16. To carry again to you. - - - -
Total 2 9 11 22
In Table 6, the analysis of imagery found in the poem A Late Walk is
described as follows.
Table 6: Analysis of Imagery Found in the Poem A Late Walk
No Types of Imagery Tota
Poem Line
. VI AI OI GI TI ORI KI l
1. When I go up through the mowing field, 1 - - - - - 1 2
 9

2. The headless aftermath, 1 - - - - - - 1

Smooth-laid like thatch with the heavy
3. 2 - - - 1 - - 3
dew,
4. Half closes the garden path. 2 - - - - - 1 3
5. And when I come to the garden ground, 1 - - - - - 1 2
6. The whir of sober birds 1 1 - - - 1 - 3
7. Up from the tangle of withered weeds 2 - - - - - - 2
8. Is sadder than any words. 1 - - - - 1 - 2
9. A tree beside the wall stands bare, 3 - - - - - 1 4
10. But a leaf that lingered brown, 2 - - - - - 1 3
11. Disturbed, I doubt not, by my thought, - - - - - 3 - 3
12. Comes softly rattling down. - 1 - - 1 - 1 3
13. I end not far from my going forth 2 - - - - - 2 4
14. By picking the faded blue 1 - - - - - 1 2
15. Of the last remaining aster flower 1 - - - - 1 - 2
16. To carry again to you. - - - - - - 1 1
Total 20 2 - - 2 6 10 40

4. FINDINGS AND DISCUSSION

In this chapter, all the results are shown in tables and figures so as to
discuss the possible relationships among symbols, imagery, theme, and the
intended response of the poet as well as the readers.

Table 13: Total Frequency and Percentage of Symbolism Found in

Sample Poems
Types of Symbolism
No. Poem Name Tradition Privat Origina Total
al e l
1 Into my own 4 5 3 12
2 Stars 2 3 14 19
3 A Late Walk 2 9 11 22
Total 8 17 28 53
Average Percentage 15% 32% 53% 100%
According to Table 13, while the total symbolism of sample poem 1 can be
found in 12 occurrences, traditional is 5 times, 4 for private, and original is 3. The
most dominant one is traditional symbolism in this sample poem 1. In sample
poem 2, there are 19 occurrences as the total number of symbolisms. Among
them, the most dominant one is original symbolism which is 14 times, and the
others are 3 for private and 2 for traditional. In sample poem 3, 22 occurrences
can be seen and the most frequent one is original symbolism which is 11 times
and the rest are 9 for private and 2 for traditional. In doing so, the total number of
symbolisms is 53 occurrences. It can also be observed that the most significant
one is original symbolism which is 28 times and its percentage is 53% in all
poems. The second one is private symbolism which is also 17 times and the
percentage is 32%, the third one is traditional symbolism which is 8 times and its
percentage is 15%.
 10

16
14
14
12 11
10 9
8
6 5
4
4 3 3
2 2
2
0
Into my own Stars A Late Walk

Traditional Private Original

S
Figure 1: Symbolism Found in the Sample Poems
0.15; 15%

0.53; 53%
0.32; 32%

Traditional Private Original

Figure 2: Percentage of Symbolism Found in the Sample Poems
Based on Figures 1 and 2, the sample three poems of Robert Frost are
mostly related to the original symbolism rather than private and traditional ones.
It is because the poet himself is so well-known in applying symbolism in his poetry
and another major factor is concerned with the theme of these poems. According
to Table 14, the sample poems 2,3 and 6 have the same theme about nature and
the same dominant symbolism. Sample poems 1,4 and 5 are different in dominant
symbolisms but they are also the same in the theme of self-discovery and
observation. For this reason, it can be assumed that the theme of the poems is
closely related to the use of symbolism. Furthermore, the attitude, perception,
and mood of the poet concerning the themes of the poems are also not ignorable
in considering whether there is any direct or indirect relation between the theme
and the use of symbolism. These possibilities take vital roles in speculation of the
connection between theme and use of symbolism.
Table 14: Themes Found in the Sample Poems
No
Poems Themes
.
Self-discovery, independence, personal journey,
1. Into My Own
identity, growth
2. Stars Nature, wonder, eternity, beauty, cosmic connection
3. A Late Walk Nostalgia, change, seasons, nature, endings, reflection
According to Table 15, it can be observed that visual imagery is the most
dominant one which is 123 times and its percentage is 52%. Kinesthetic imagery
can also be found 60 times as the second dominant one and its percentage is
26%. Organic imagery could have occurred 37 times as the third dominant one
and its percentage is 16%. It can be said that 7 times for tactile imagery, 5 times
for olfactory imagery, 3 times for auditory imagery, and no gustatory imagery is
 11

found respectively. Apart from sample poem 1, all 5 sample poems rely on visual
imagery. Kinesthetic imagery is found only in sample poem 1. It can be concluded
that the poet himself and the way how he composes or chooses words are closely
related to the sense of sight or visualization. It is because the poet would like to
make the readers visualize and feel the poems easily and comfortably.
Table 15: Total Frequency and Percentage of Imagery Found in the
Sample Poems

Types of Imagery
No Tota
Poem Name OR
. VI AI OI GI TI KI l
I
1 Into my own 14 - 1 - - 6 17 38
2 Stars 17 - - - 1 4 7 29
3 A Late Walk 20 2 - - 2 6 10 40
Total 51 2 1 0 3 16 34 107 In
Average 47.7 1.9 0.9 0 2.7 15 31.8 100
Percentage % % % % % % % %
addition, the poet’s uses of kinesthetic imagery are also able to awake the
readers’ the sense of physical movements while his skillful uses of organic
imagery enable to make them cry or laugh in terms of the sense of internal
sensations or emotions. It means that such kinds of imageries help the readers in
order to have smooth feelings, visualizations and internal sensations as well as
effortless comprehensions on the poems. Nevertheless, it is impossible to neglect
the roles of other imageries even though their presences in these poems are
weak. Moreover, it can be generally assumed that most of Robert Frost’s poems
have very good and strong relation between the theme and the words he used in
terms of symbolic uses or imageries.
VI AI OI GI TI ORI KI
20
17

17
14

10
7
6

6
4

2
1

1
0

0
0

In to my o wn S tar s A Late W al k
Figure 3: Imagery Found in the Sample Poems

14; 37%
17; 45%

1; 3%
6; 16%
VI AI OI GI TI ORI KI
Figure 4: Percentage of Imagery Found in the Sample Poems
In this study, it can be noted that the roles of both symbolism and imagery
are closely related to each other and they are also able to serve the theme of the
poem. Symbolism and imagery often go hand in hand in poetry, producing layers
 12

of meaning and emotional resonance. Symbolism uses objects, actions, or ideas to

represent larger concepts or abstract themes, while imagery evokes sensory
experiences through vivid and descriptive language. Besides, themes can be
assumed as the foundation while symbolism is used as tools to express the theme
and imagery engages the senses with them together. In short, the theme is about
the central idea and symbolism is a layered representation of that idea while
imagery is a sensory experience that makes this idea resonate.
The findings indicate that Robert Frost skillfully combined traditional,
personal, and original symbols in alignment with the themes of his poems.
Consequently, his emphasis on original symbols is more pronounced in these
sample poems than in the others. This is due to Frost's adept manipulation of
precise and effective symbolic language that aligns with the themes of his work.
This focus on original symbols is a key reason for their dominance in his poetry.
Furthermore, his frequent use of original symbols reflects his desire to create a
unique, personal mythology capable of conveying complex ideas and exerting an
interwoven impact on both personal and traditional levels. Frost often explored
intricate concepts, perceptions, and thoughts regarding society, politics, religion,
and beliefs. Boy’s Will his first published poetry collection, is filled with youthful,
fresh, energetic, independent, and profound ideas. The sample poems drawn from
this collection exemplify his distinctive and natural approach to poetry. Frost’s
innovative spirit and creativity with symbolic language, evident in all his poems,
effectively convey multiple layers of meaning and thematic depth.
At the same time, Frost’s use of imagery is significant when considering
how he connects to the themes of his poems. His brilliant and skillful use of
imagery engages various sensory modalities. The nature of poetry can be
challenging to grasp within a limited timeframe due to its condensed and
profound linguistic descriptions. It is not always easy to identify which senses are
evoked by the imagery in poetry, as they typically align with the poem's
overarching theme. Depending on the themes, the use of imagery may vary. In
Frost’s works, it is evident that the themes are intricately intertwined with the use
of imagery, which effectively depicts a range of sensory experiences. For instance,
in the analysis of six sample poems, over half of the imagery (54%) consists of
visual imagery, reflecting the nature-based themes and the relationship between
internal sensations and external phenomena.
According to these results, it can be concluded that Frost's straightforward
and clever use of language in his poetry effectively portrays themes and
meanings while also facilitating effortless comprehension and appreciation for
readers.
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