Robert Frost wrote a poem – twice. The first version of the poem, “In White,” created a simple scene filled with anomalies. For some reason, years later, this work deserved greater attention. The poet complied and skillfully improved the work, rendering a finished poem that exceeds the scope of the original. Both versions of Frost's poem send a nuanced message to the thoughtful reader. Although vague and open to interpretation, this message invites debate, an introspective feast. The poem “Design” demonstrates a refined superiority through Frost’s mastery of imagery, amplified by devices and lean language. Initially, an explanation helps understand the inner workings of the finished poem, to identify the differences between the two. Frost's poem, "Design," begins in the simplest way: "I found a dimpled spider, large and white, / On a white healer, holding a moth / Like a white piece of cloth stiff satin…” The spider, described as such, denotes a joyful innocence, an improbable association. Introducing the first of several ironies, healing preserves life and yet the connection to death is obvious. The flower serves as a stage for the spider, threatening despite its pale disguise. Frost's white color palette persists in the simile of the moth, poor dead creature. Satin, generally associated with rich adornments, finds a much less elegant meaning with the adjective “rigid”. Every line gets closer to the scene in question, there's no doubt that something is wrong. The fourth line continues the mood with “Assorted Characters of Death and Blight” and adds to the sense of impending doom. Death and blight signify a deviation from the norm. Each represents something untoward. The flower that cures all is found among the paper islands. As such, the reader gains a deeper understanding of the action, "like lifting a veil." In summary, the explanation of “Design” served to address the two poems by examining one of them and then identifying and comparing the changes. Such a maneuver provided a clearer perspective of Frost's initial rendering and subsequent final work. Thus, exposing their subtle differences allowed the works to be compared and a subjective conclusion to be drawn regarding which poem was more effective. However, it must be kept in mind that without the first, lesser “version”, the second would have had no life. Indeed, in an exercise in refinement, the poet revised this piece with a delicate hand, shaping precise images and giving voice to each word, producing a superior message that posed more questions than solid answers on the question of whether life (or death) occurs by coincidence, or by “Conception.”