In this post we dived into The Road Not Taken Analysis which includes a detailed critical analysis, poetic devices used in the poem, central idea of the poem, tone and themes conveyed in the poem.
On a word-for-word basis, it may be the most popular piece of literature ever written by an American. Most widely celebrated artistic projects are known for being essentially what they purport to be.
A cultural offering may be simple or complex, cooked or raw, but its audience nearly always knows what kind of dish is being served. The two roads are interchangeable.
In this it strongly resembles its creator. Frost is the only major literary figure in American history with two distinct audiences, one of which regularly assumes that the other has been deceived.
For these readers, Frost is a mainstay of syllabi and seminars, and a regular subject of scholarly articles though he falls well short of inspiring the interest that Ezra Pound and Wallace Stevens enjoy. Then there is the other audience. This audience is large.
Frost is not simply that rare bird, a popular poet; he is one of the best-known personages of the past hundred years in any cultural arena. In all of American history, the only writers who can match or surpass him are Mark Twain and Edgar Allan Poe, and the only poet in the history of English-language verse who commands more attention is William Shakespeare.
This level of recognition makes poetry readers uncomfortable.
Poets, we assume, are not popular—at least after or so. If one becomes popular, then either he must be a second-tier talent catering to mass taste as Sandburg is often thought to be or there must be some kind of confusion or deception going on.
He is really a wolf, we say, and it is only the sheep who are fooled. In this sense, the poem is emblematic. A role too artfully assumed ceases to become a role and instead becomes a species of identity—an observation equally true of Robert Frost himself.
It is a poem about the necessity of choosing that somehow, like its author, never makes a choice itself—that instead repeatedly returns us to the same enigmatic, leaf-shadowed crossroads.
From The Road Not Taken:Not all corners can be taken on the classical racing line. Sets of corners sometimes require a different approach to maximize the exit speed of the last corner. For each illustration below, a track segment will be shown, the fastest line indicated, and some possible lines you might be tempted to believe are better.
George Montiero "THE ROAD NOT TAKEN" can be read against a literary and pictorial tradition that might be called "The Choice of the Two Paths, " reaching not only back to the Gospels and beyond them to the Greeks but to ancient English verse as well.
yunusemremert.com: File Size: 14 kb: File Type: docx. Symbolism in "The Road Not Taken" by Rachel Affleck 1. The roads symbolize the speaker's choices two roads.
"Two roads diverged in a yellow wood/And sorry I could not travel both". The Road Not Taken Robert Frost Introduction On the surface of it, "The Road Not Taken" by Robert Frost presents a narrator who is remembering a journey through the woods, and the person making this journey came into a position where two roads were diverging.
Robert Frost's influence has been profound, and is perhaps felt most keenly in his poem "The Road Not Taken." Perplexed: Stanza 1 The author creates the picture of a man standing in the forest with the choice of two paths.