I am talking about death, if you did not get the clue. In the end, the pair left unharmed. In this poem, the fork in the path symbolizes or represents choices people make in life, and the path chosen is the result of those choices and the ensuing lifelong journey. Perhaps then, the narrator's sigh was one of curiosity and emotional ambiguity, rather than regret. . These lines, the last three lines of Frost's The Road Not Taken, have been endlessly quoted by many people: as epigraphs in their books, on their personal web pages, and so on. 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.
Oh, I kept the first for another day! In choosing safety, however, he knew full well that he would claim he took the risky road and won. 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. Provide details and share your research! The poet is only trying to point out we are the product of our decisions and every decision we make, however simple they may appear, have profound implications on our future. These experiences then leave marks in the choices that we have, these marks then form our bias towards or against that path. But we can't see it because we want the particular piece of humbug to be true. This decision is not to be taken lightly. Iambic consists of an unstressed syllable followed by a stress syllable.
Let's look at the poem My Notes in Bold and Parentheses below the line they are commenting on : -------------------------------------------------------------------------------------- Two roads diverged in a yellow wood, He sees two roads he can take 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; He checks one of them out Then took the other, as just as fair, He takes the other which looks just as good And having perhaps the better claim, Because it was grassy and wanted wear; The path he took looked a little more overgrown Though as for that the passing there Had worn them really about the same, But to be honest they looked equally overgrown And both that morning equally lay In leaves no step had trodden black. No, actually, it's equally trodden. Though in almost every line, in different positions, an iamb is replaced with an. The repetition of I—as well as heightening the rhetorical drama—mirrors this idea of division. It's just two roads in a wood; the choice doesn't matter.
It consists of four of 5 lines each. The first stanza already establishes that the narrator based on Edward Thomas is agonising over the simple decision of which road to choose while out for a stroll in the woods. 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. He considers both paths and concludes that each one is equally well-traveled and appealing. Ironic as it is, this is also a poem infused with the anticipation of remorse. Life is full of choices that have no clear guide one way or the other and in making our decision we never get to see the outcome of the other choice.
That is my personal interpretation of the poem. It is often thought to mean that the narrator made a decision to take a path not traveled by others and thus metaphorically made a statement for individuality but clues within the poem refute this view. We cannot tell, ultimately, whether the speaker is pleased with his choice; a sigh can be either contented or regretful. Minnesota: University of Minnesota Press. Normally people are used to go with the flow of the world without considering about what they really want and what is the purpose of doing things.
He also achieved a personal goal as a poet. Immediately after making this decision on such flimsy grounds though, he is aware that: 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. Copyright 1916, 1923, 1928, 1930, 1934, 1939, 1947, 1949, © 1969 by Holt Rinehart and Winston, Inc. However, when we look closer at the text of the poem, it becomes clear that such an idealistic analysis is largely inaccurate. Paths in the woods and forks in roads are ancient and deep-seated metaphors for the lifeline, its crises and decisions.
Since its publication, many readers have analyzed the poem as a nostalgic commentary on life choices. It was to lodge a few poems where they will be hard to get rid of. The determinism of a choice, way leading on to way, in a string of events that becomes a life is unescapable. You could call this contradiction, but it's just that on closer examination the difference has vanished. In the first stanza, Mr. If I can locate the relevant volume, I'll add more material.
After all, the poem's title is ultimately a reflection of reminiscing on our decisions and wondering how things might have been different on the road not taken. This is the more primal strain of remorse. Let's take a look at some of the symbolism in 'The Road Not Taken' to see how the poet uses it to concisely summarize the course of a human life. He is saying that one day he will feel sure of his decision, even though he was never really sure. The yellow leaves also evoke a sense of transience; one season will soon give way to another. What are sighed for ages and ages hence are not so much the wrong decisions as the moments of decision themselves—moments that, one atop the other, mark the passing of a life.