The Road Not Taken Analysis Stanza 1 The two roads is a symbolic reference to two diverging choices, posited in front of an individual. His final decision will apparently hold with him, causing irreversible consequences. Frost's symbols define and explain each other. A baggy figure, equally pathetic When sedentary and when peripatetic. New York: Holt, Rinehart, and Winston, 1939.
We can sense the poet reliving his childhood in his daydreams. Stanza 3 Summary In this third stanza, mentions in lines eleven and twelve that in the moment that this individual was making his decision, both paths were nearly identical. Along with the beat in the words, Frost uses the sense of sound to add aural relating to sound texture to the poem. Analysis This stanza introduces the dilemma that every human faces, not once, but multiple times in his or her life; the dilemma of choice. Then as if to move away from the serious turn of his thoughts, the poet suddenly springs up an aesthetic simile — a more direct form of comparison than a metaphor.
With this poem, Frost has given the world a piece of writing that every individual can relate to, especially when it comes to the concept of choices and opportunities in life. Sleep becomes a deserved reward in contrast to the unearned pleasure of looking at the woods. What was it it whispered? It was abroad that Frost met and was influenced by such contemporary British poets as , , and. Frost describes conflicts between desire and duty as if the two must always be mutually exclusive; in order to support his family, a farmer must acknowledge his responsibilities rather than indulge in his personal desires. Since the poet will allow himself to sleep only after he has kept his promises.
Frost speaks as a friend sharing his inner self, adopting a first person conversation style. Man acts more like the poor bear in a cage That all day fights a nervous inward rage~ His mood rejecting all his mind suggests. Her next step rocks a boulder on the wall She's making her cross-country in the fall. The poem should also evoke its readers to discover something they previously do not know, but they actually know from the start. Or if he rests from scientific tread, 'Tis only to sit back and sway his head Through ninety odd degrees of arc, it seems, Between two metaphysical extremes. Sponsored Links The bear puts both arms around the tree above her And draws it down as if it were a lover And its chokecherries lips to kiss good-by, Then lets it snap back upright in the sky. This underlines the nature of people in general, that we will always choose the path which seems attractive and is of interest to us, even if both paths have equal potential of getting us to wherever it is we are headed.
Her great weight creaks the barbed-wire in its staples As she flings over and off down through the maples, Leaving on one wire moth a lock of hair. The infamous poem is rich with simplistic literal symbolism. Such is the uncaged progress of the bear. He sits back on his fundamental butt With lifted snout and eyes if any shut He almost looks religious but he's not , And back and forth he sways from cheek to cheek, At one extreme agreeing with one Greek At the other agreeing with another Greek Which may be thought, but only so to speak. By having the character in the poem examine the roads ahead of him, Frost is emphasizing that we all try our best to guess what lays ahead for us in every opportunity that we are presented in an attempt to find some control and later comfort over our final decisions.
On the other hand, if the poem is reviewed, it is quite obvious that it has fairly the opposite connotation. Each of these poems reveals a slightly different side of Robert Frost, just as the seven collections of poetry from different times in his life provide a glimpse into his development as an artist. The author of searching and often dark meditations on universal themes, he is a quintessentially modern poet in his adherence to language as it is actually spoken, in the psychological complexity of his portraits, and in the degree to which his work is infused with layers of ambiguity and irony. When it comes to tough decisions in our lives, we always know that no matter what we finally choose, eventually, we will regret not being able to try the possibility that was left uncharted by us. The adults in Frost's poetry generally maintain their rationality as a burden of duty, but there are certain cases when the hint of imagination is almost too seductive to bear.
Structurally, Birches is a stichic — a poem with no stanza breaks. Her great weight creaks the barbed-wire in its staples As she flings over and off down through the maples, Leaving on one wire moth a lock of hair. Seemingly an obvious poem, The Road Not Taken has been subjective, catering to multiple interpretations. Often you must have seen them Loaded with ice a sunny winter morning After a rain. Stanza 2 Summary In this second stanza, lines six through eight: the individual in the poem finally makes a decision and chooses a road that he thinks he believes is better, because it looked like not many people had walked on it before. But the imaginative world still beckons.
The information we provided is prepared by means of a special computer program. Sleep, and darkness, suggesting death and the woods suggest enchantment. May no fate willfully misunderstand me And half grant what I wish and snatch me away Not to return. The world has room to make a bear feel free; The universe seems cramped to you and me. Like him, the poet too finds a carefree thrill in his own playground- his imagination.
His choices will ultimately affect his future. While in England, Frost also established a friendship with the poet , who helped to promote and publish his work. This gives the poem a free flowing tone, enhanced with the use of enjambment — a style where verses break into the next line without punctuation. Yet, because of an unwillingness to take the steps necessary to create a relationship with another person, the characters are doomed. He sits back on his fundamental butt With lifted snout and eyes if any shut He almost looks religious but he's not , And back and forth he sways from cheek to cheek, At one extreme agreeing with one Greek At the other agreeing with another Greek Which may be thought, but only so to speak. Out on an errand to bring back the cows, the boy still finds the time and inspiration for pleasure. On the overview, they visually strike as similar, with no appreciable distinction.
The poet sets up a fictional stage for an individual upon which he sets the direction of his life with irreparable consequences. A baggy figure, equally pathetic When sedentary and when peripatetic. Lines 44-48 All in all, Frost may have had a special corner for the Birch trees themselves. When stiff and sore and scarred I take away my hand From leaning on it hard In grass and sand, The hurt is not enough: I long for weight and strength To feel the earth as rough To all my length. No matter where we end up, and how informed, tempting and satisfying our choices were, we will always wonder the what if-s and the could have been-s of the other opportunities that we left behind. This poem has been analysed separately by two members of the PoemAnalysis. From The Poetry of Robert Frost by Robert Frost, edited by Edward Connery Lathem.