Frost’s “Stopping by Woods on a Snowy Evening” contains a particular moment, as it describes the act of stopping in the middle of a journey in the woods at night. There’s a transitivity to it–the speaker has no ownership of the area, describing how the woods belong to a man living in the village, and the speaker has “miles to go before I sleep” (l. 15), implying that this is a momentary stop in a long journey. The poem treads the line between a stream of consciousness and a narrative. The first two stanzas take place singularly in the speaker’s mind: he seems to think on what’s going on around him and what his horse may be thinking. However, in the third stanza, outside events intercede: the horse shakes his bells, jolting the speaker out of his reverie and into reality before he manages to focus on the task ahead. It’s as if the woods at night put a spell on him; he stops “to watch his woods fill up with snow” (l. 2), the night of the winter solstice, and this combination of seemingly irrational behavior mixed with the significance of the night gives a sense of magic to the dramatic situation. This is further seen in the first line of the last paragraph, where the speaker says “The woods are lovely, dark and deep”: the grammar of the phrase implies that the woods are lovely because they are dark and deep, terms that would not be seen immediately as lovely traits. Additionally, the form of the poem adds to this ethereal sense. The poem is written in iambic tetrameter, and has an AABABBCBCCDCDDDD rhyme scheme. This consistent meter and rhyme scheme that reaches across stanzas serves to blend the poem together, making it hazier and dreamy.