Here is what is read by a voice-over artist, in the distinctive vowels of New Zealand, as the young man ponders his choice: 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; 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, And both that morning equally lay In leaves no step had trodden black. He would not be alone in that assessment. Like a Song Frost's poems are like finely crafted symphonies. Yet knowing how way leads on to way, I doubted if I should ever come back. 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. It is about what the poem never mentions: the choice the speaker did not make, which still haunts him.
The determinism of a choice, way leading on to way, in a string of events that becomes a life is unescapable. If he were, it would make more sense to use the modified version above. At this point, Frost, no doubt using eloquence befitting a wordsmith of his stature, told the gamekeeper off once again, explaining what would happen if said gamekeeper ever chose to threaten the pair again while they walked. Anapest starts with two unstressed syllables followed by one stressed syllable. First, a road, unlike a path, is necessarily man-made. The fairytale-like language also accentuates the way the poem slowly launches into a conjuring trick. Fifteen years later his mother died of cancer.
Keating, played by Robin Williams, takes his students into a courtyard, instructs them to stroll around, and then observes how their individual gaits quickly subside into conformity. But there is one very unusual aspect to this commercial. And then it becomes clear the neither road has been travelled much at all. The years in England were crucial to Frost, but they have also caused confusion in straightening out his publishing history — the books appeared in reverse order in America and the poems that appeared in the magazines had in fact already appeared in print, albeit in England. Yet knowing how way leads on to way, I doubted if I should ever come back.
And book sales indicate more about the popularity of a particular poet than of any individual poem. The neatness of how the sentence structure suddenly converges with the line structure this sentence is exactly one line echoes the sudden, clean division that choice creates. Precisely who is not doing the taking? What is clear is that the act of choosing creates division and thwarts dreams of simultaneity. But if you think of the poem not as stating various viewpoints but rather as performing them, setting them beside and against one another, then a very different reading emerges. Whichever road he chooses, the speaker, will, presumably, enjoy a walk filled with pleasant fall foliage.
But the poem does not trip readers simply to tease them—instead it aims to launch them into the boundless, to launch them past spurious distinctions and into a vision of unbounded simultaneity. This brings us back to the poem and the decision Thomas had been long agonizing over. And it is, in most respects, a normal piece of smartly assembled and quietly manipulative product promotion. There is no evidence that Frost ever contemplated doing so, in agony or otherwise. With that said, Frost and Thomas turned to leave.
He became woefully ashamed of what he perceived as his cowardice in the matter. There is no simple way to decide which road to choose. These two potential poems revolve around each other, separating and overlapping like clouds in a way that leaves neither reading perfectly visible. Robert Frost is one of the most critically acclaimed American poets of the 20th century, which is a roundabout way of saying you almost certainly studied one of his poems in school. The yellow leaves suggest that the poem is set in autumn, perhaps in a section of woods filled mostly with alder or birch trees.
This reading of the poem is subtly different from, and bolder than, the idea that existence is merely subject to the need to make decisions. Loose Iambic By bolding the stressed syllables in Frost's poem, it is obvious that a loose iambic included some of the other types of meter. The second event that influenced his decision was something he often lamented after in letters. In this stanza, the character is already imagining the regret he will feel, and decides that he will not be honest when he retells the story of his decision, as it will not validate his selection of the road if he showcases his regret by stating that an equal opportunity could have landed him elsewhere in life. To wit, the protagonist of the poem goes out of his way to make it clear that the two paths are virtually identical- neither is more traveled than the other.
For any mass audience to recognize any poem is to put it mildly unusual. These experiences then leave marks in the choices that we have, these marks then form our bias towards or against that path. His honesty is a reality check as well as a means of making a final decision. You felt deep in your bones what Frost was trying to convey. 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. Until it was discontinued in late 2012, a tool called Google Insights for Search allowed anyone to see how frequently certain expressions were being searched by users worldwide over time and to compare expressions to one another. Her poetry and fiction have appeared in The Kenyon Review, The Hudson Review, Poet Lore, The Common and elsewhere.
This is a personal favorite—a simple yet iconic reflection on a major, life-changing shift in one's life. Oh, I kept the first for another day! In order to gain some things in life, we must let others go. Analysis This stanza introduces the dilemma that every human faces, not once, but multiple times in his or her life; the dilemma of choice. But many often interpret it to mean that we should, when faced with a situation like this, go for one which is not common- this is not really what the poet wishes to say. But is there any actual evidence to support one interpretation over the other, at least as far as Frost was intending when he wrote it if he had any real intent at all? I shall be telling this with a sigh Somewhere ages and ages hence: Two roads diverged in a wood, and I— I took the one less traveled by, And that has made all the difference.