If life is a journey, this poem highlights those times in life when a decision has to be made.
Two roads diverged in a yellow wood And sorry I could not travel both And be one traveler, long I stood And looked down one as far as I could To where it bent in the undergrowth; 5 Then took the other, as just as fair And having perhaps the better claim, Because it was grassy and wanted wear; Though as for that, the passing there Had worn them really about the same, 10 And both that morning equally lay In leaves no step had trodden black.
Oh, I kept the first for another day! Yet knowing how way leads on to way, I doubted if I should ever come back. Two roads diverged in a wood and I— I took the one less traveled by, And that has made all the difference.
Both ways are equally worn and equally overlaid with un-trodden leaves. The speaker chooses one, telling himself that he will take the other another day.
Yet he knows it is unlikely that he will have the opportunity to do so. And he admits that someday in the future he will recreate the scene with a slight twist: He will claim that he took the less-traveled road.
The rhyme scheme is ABAAB; the rhymes are strict and masculine, with the notable exception of the last line we do not usually stress the -ence of difference. There are four stressed syllables per line, varying on an iambic tetrameter base. Commentary This has got to be among the best-known, most-often-misunderstood poems on the planet.
Several generations of careless readers have turned it into a piece of Hallmark happy-graduation-son, seize-the-future puffery.
But you yourself can resurrect it from zombie-hood by reading it—not with imagination, even, but simply with accuracy. Neither of the roads is less traveled by.
These are the facts; we cannot justifiably ignore the reverberations they send through the easy aphorisms of the last two stanzas. One of the attractions of the poem is its archetypal dilemma, one that we instantly recognize because each of us encounters it innumerable times, both literally and figuratively.
Paths in the woods and forks in roads are ancient and deep-seated metaphors for the lifeline, its crises and decisions. Identical forks, in particular, symbolize for us the nexus of free will and fate: We are free to choose, but we do not really know beforehand what we are choosing between.
Our route is, thus, determined by an accretion of choice and chance, and it is impossible to separate the two. This poem does not advise.
Next, the poem seems more concerned with the question of how the concrete present yellow woods, grassy roads covered in fallen leaves will look from a future vantage point.Robert Frost takes the familiar objects as the subject matters of his poetry but makes them highly suggestive and symbolic to represent some universal wisdom.
Symbolism in Stopping by Woods on a Snowy Evening by Robert Frost Many people consider Robert Frost to be one of America's greatest poets, and one of his best known poems is "Stopping by Woods on a Snowy Evening".
In the poem, Frost describes a person stopping just outside of town in a wooded area with his horse. Feb 17, · In "The Road Not Taken," Frost does not indicate whether the road he chose was the right one.
Nonetheless, that is the way he is going now, and the place he ends up, for better or worse, was the result of his mtb15.coms: 8. In the poem 'Fire and Ice', Robert Frost uses a sarcastic tone to warn us about the dangers that planet Earth could face, if we do not keep our desires and negative emotions in control.
Short, crisp, and to-the-point, he conveys a very profound message in just 9 lines. Robert Frost takes the familiar objects as the subject matters of his poetry but makes them highly suggestive and symbolic to represent some universal wisdom.
Frost’s poetry abounds in all familiar things like pastures and plains, mountains and rivers, woods and gardens, groves and bowers, fruits and flowers, and seeds and birds etc.
Symbolism in Robert Frost's Poetry Symbolism makes good reading better. It forces readers to slow down and pay attention to what is being said and why.
One poet known for his incredible use of figurative language is Robert Frost.