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. 15
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. 20
The speaker stands in the woods, considering a fork in the road. 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 Road Not Taken” consists of four stanzas of five lines. 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.
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. Cursed with a perfect marriage of form and content, arresting phrase wrought from simple words, and resonant metaphor, it seems as if “The Road Not Taken” gets memorized without really being read. For this it has died the cliché’s un-death of trivial immortality.
But you yourself can resurrect it from zombie-hood by reading it—not with imagination, even, but simply with accuracy. Of the two roads the speaker says “the passing there / Had worn them really about the same.” In fact, both roads “that morning lay / In leaves no step had trodden black.” Meaning: 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. It does not say, “When you come to a fork in the road, study the footprints and take the road less traveled by” (or even, as Yogi Berra enigmatically quipped, “When you come to a fork in the road, take it”). Frost’s focus is more complicated. First, there is no less-traveled road in this poem; it isn’t even an option. 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.
Symbolism, Imagery, And Theme Of The Road Not Taken By Robert Frost
Symbolism, Imagery, and Theme of The Road Not Taken by Robert Frost
How can an author effectively convey a universal message to the broadest audience possible? Simple. The author must simply create a completely impartial narrator, devoid of sex, status, or age. The Road Not Taken is a poem told by an impartial narrator who has come to a crossroads in his/her life. The crossroads is represented by a forked path that leads through a forest. The setting is also impartial; the forest is anytime and anywhere the reader desires it to be. The narrator is forced to make a life-decision, thus changing the course of his/her life forever. Symbolism and imagery are used effectively to reinforce the main theme of the poem.
One instance of symbolism in the first stanza is "And looked down one as far as I could / To where it bent in the undergrowth;". This symbol shows to me that the person who needs to make this life decision is trying to peer into the future to see what the outcome would be if he takes a certain path. He cannot see past the immediate future, hence the reference to the bend in the undergrowth. The bend represents the unforeseeable future. The next instance of symbolism is "Yet knowing how way leads on to way, / I doubted if I should ever come back." This means to me that the writer knows that whichever path he chooses will be irreversible. His choice will make changes in his life that he will not be able to take back and he will never again be at that same starting point. The last use of symbolism in the poem is "Two roads diverged in a wood, and I - / I took the one less traveled by, / And that has made all the difference." These lines say to me that the writer has led a satisfying life. That he did chose wisely and although it wasn't necessarily an easy life, it was fulfilling for him and he is proud of the choices he made.
Imagery was also...
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