Jim Henry

One time i walked over to a friends house and when i got there i said today I came across a fork in the road Friend asked and you took the road less traveled? I said no i put it in my pocket and produced a flattened out salad fork with dents, evidently from being run over repeatedly. We both laughed. Now i get why Finch is the way he is, just look at his counsellor. He saw her from the bottom of the stairs Before she saw him. She was starting down, Looking back over her shoulder at some fear. She took a doubtful step and then undid it To raise herself and look again. He spoke Advancing toward her: 'What is it you see From up there always--for I want to know. ' She turned and sank upon her skirts at that, And her face changed from terrified to dull. He said to gain time: 'What is it you see, ' Mounting until she cowered under him. 'I will find out now--you must tell me, dear. ' She, in her place, refused him any help With the least stiffening of her neck and silence. She let him look, sure that he wouldn't see, Blind creature; and awhile he didn't see. But at last he murmured, 'Oh, ' and again, 'Oh. ' 'What is it--what? ' she said. 'Just that I see. ' 'You don't, ' she challenged. 'Tell me what it is. ' 'The wonder is I didn't see at once. I never noticed it from here before. I must be wonted to it--that's the reason. The little graveyard where my people are! So small the window frames the whole of it. Not so much larger than a bedroom, is it? There are three stones of slate and one of marble, Broad-shouldered little slabs there in the sunlight On the sidehill. We haven't to mind those. But I understand: it is not the stones, But the child's mound--' 'Don't, don't, don't, don't, ' she cried. She withdrew shrinking from beneath his arm That rested on the bannister, and slid downstairs; And turned on him with such a daunting look, He said twice over before he knew himself: 'Can't a man speak of his own child he's lost? ' 'Not you! Oh, where's my hat? Oh, I don't need it! I must get out of here. I must get air. I don't know rightly whether any man can. ' 'Amy! Don't go to someone else this time. Listen to me. I won't come down the stairs. ' He sat and fixed his chin between his fists. 'There's something I should like to ask you, dear. ' 'You don't know how to ask it. ' 'Help me, then. ' Her fingers moved the latch for all reply. 'My words are nearly always an offense. I don't know how to speak of anything So as to please you. But I might be taught I should suppose. I can't say I see how. A man must partly give up being a man With women-folk. We could have some arrangement By which I'd bind myself to keep hands off Anything special you're a-mind to name. Though I don't like such things 'twixt those that love. Two that don't love can't live together without them. But two that do can't live together with them. ' She moved the latch a little. 'Don't--don't go. Don't carry it to someone else this time. Tell me about it if it's something human. Let me into your grief. I'm not so much Unlike other folks as your standing there Apart would make me out. Give me my chance. I do think, though, you overdo it a little. What was it brought you up to think it the thing To take your mother--loss of a first child So inconsolably--in the face of love. You'd think his memory might be satisfied--' 'There you go sneering now! ' 'I'm not, I'm not! You make me angry. I'll come down to you. God, what a woman! And it's come to this, A man can't speak of his own child that's dead. ' 'You can't because you don't know how to speak. If you had any feelings, you that dug With your own hand--how could you? --his little grave; I saw you from that very window there, Making the gravel leap and leap in air, Leap up, like that, like that, and land so lightly And roll back down the mound beside the hole. I thought, Who is that man? I didn't know you. And I crept down the stairs and up the stairs To look again, and still your spade kept lifting. Then you came in. I heard your rumbling voice Out in the kitchen, and I don't know why, But I went near to see with my own eyes. You could sit there with the stains on your shoes Of the fresh earth from your own baby's grave And talk about your everyday concerns. You had stood the spade up against the wall Outside there in the entry, for I saw it. ' 'I shall laugh the worst laugh I ever laughed. I'm cursed. God, if I don't believe I'm cursed. ' 'I can repeat the very words you were saying. "Three foggy mornings and one rainy day Will rot the best birch fence a man can build. " Think of it, talk like that at such a time! What had how long it takes a birch to rot To do with what was in the darkened parlor. You couldn't care! The nearest friends can go With anyone to death, comes so far short They might as well not try to go at all. No, from the time when one is sick to death, One is alone, and he dies more alone. Friends make pretense of following to the grave, But before one is in it, their minds are turned And making the best of their way back to life And living people, and things they understand. But the world's evil. I won't have grief so If I can change it. Oh, I won't, I won't! ' 'There, you have said it all and you feel better. You won't go now. You're crying. Close the door. The heart's gone out of it: why keep it up. Amy! There's someone coming down the road! ' 'You--oh, you think the talk is all. I must go-- Somewhere out of this house. How can I make you--' 'If--you--do! ' She was opening the door wider. 'Where do you mean to go? First tell me that. I'll follow and bring you back by force. I will! --'.
I always thought that when it said 'though as for that the passing there had worn them really about the same' was more of the passing of time. IE, they'd both been built at the same time, not that he was fooling himself. I can see where you're coming from and it's an interesting idea, although I think the other interpretations are just as valid.

Wow! That was heavy! Really interested me on many levels, and moved me. I had no idea about any of the things in this video! How engaging.

????. R.I.P. MCA (1964-2012. With a voice like Frost, it was lucky he didn't take the road as a singer. He would have died in the gutter. The Crossroad Symbolic of the Turning Point in Frost’s Life The symbol of a road has been predominantly used to indicate the journey of Life. However, it signifies not only journey but also the destination. The metaphor of the road is used persistently in the poem, and is therefore an extended metaphor. The crossroad functions as an evocative metaphor for a vital decision. The road in question is situated in a forest. The popular perception of the poem is that Robert Frost takes one of the two roads he describes. However, the title puts more emphasis on the idea that Frost had not taken any of the specified roads. Rather, he traverses the middle path. Frost was always caught between two worlds: that of being a teacher and a poet; between reality and imagination. In the prescribed poem, he ruminates over which vocation to pursue, that of a poet or a teacher. He finally arrives at the decision that one can be a poet and yet teach; one can be a teacher and yet philosophize. Thus, he does not take either of the two roads described, but forges his own path. The greatest evidence for this is Frost himself: poet and teacher. Had he taken any one of the popular roads, the poem would be entitled “The Road Taken”. “The Road Not Taken” may also allude to Frost’s shifting between imagination and reality. Here also, he adopts a middle stand. He lives a practical life, yet his imagination manifests itself in his writing. At the outset he comprehends that he is sorry could not travel both: “And sorry I could not travel both/ And be one traveler. ” His first impression is that it is not practical. He first ruminates over traveling on the first road, and then talks of the second road. It is generally conceived that he took the second road. But he also mentions that the path was worn out due to constant use; and toward the end of the poem he mentions that he took the ‘road less travelled’. It implies that he did not take the second, as that was the one commonly used. He categorically states that he kept the first for another day. Therefore, he eventually took the middle path. Hence, the title “The Road Not Taken. ” What the poet shows through “The Road Not Taken” is that decisions in life cannot be specifically organized into logical alternatives or mathematical units. Sometimes life is beyond logic, categorization and mathematical division. The decision is indeed unique, this is why he states: “And that has made all the difference. ” Other Symbols in “The Road Not Taken” Comparing Choices The concept of two choices is a thought-provoking one. By presenting the two choices he may be implying that one is wrong and the other right, or that one is superior to the other. One choice is considered default and natural; the other unnatural and deviant. Robert Faggen states “This psychological representation of the developmental principle of divergence strikes to the core of Darwinian theory. Species are made and survive when individuals diverge from others in a branching scheme, as the roads diverge for the speaker. The process of selection implies an unretracing process of change through which individual kinds are permanently altered by experience. Though the problem of making a choice at a crossroads is almost a commonplace, the drama of the poem conveys a larger mythology by including evolutionary metaphors and suggesting the passage of eons. ” The Woods The image of woods signifies ‘indecision’ as the poet is lost searching for answers. The image of ‘woods’ has represented indecision in Frost’s other poems too. A few instances are “Stopping By Woods on a Snowy Evening”, “Birches” and “Mowing. ” The image of ‘woods’ can also symbolize instinct as opposed to social norms. The poet may be trying to determine what his instinct is telling him in order to arrive at a final decision. The yellow color of the woods points to the season of autumn. Autumn is symbolic of incipient decay and stagnation. The poet also experiences a sense of stagnation as he cannot progress forward to make a decision. The Roads The road that is caught in the undergrowth indicates entanglement with obstacles. This is the first road, therefore people took the second one as it was easier to traverse. “The second path is grassy and wanted wear”: The poet implies that it needed to be pruned. The ones who passed by that route had worn it out further. What Robert Frost implies here is that the practice of teaching had been made crude by teachers themselves; they did not attend to the profession out of love for the vocation and sincerity in fulfilling their duties. The path was taken just for the sake of it. The ends was the means, in such a stance. According to the poet, sometimes the journey itself is the destination. The Decision Making Process The phrase “Somewhere ages and ages hence” signifies that many years from now the whole experience will come across as a fairytale experience, as it will be complex to digest. This phrase also points it out to be a future story to recite to generations to come as an example. The relevance of the situation, in spite of time and space separating the two experiences, points to its universality. “And looked down one as far as I could:” implies that his looking at the road was not merely superficial. There is a lot of insight and contemplation involved in his decision, as echoed by the word ‘far’. The words “Way leads on to way” symbolizes the poet’s bewilderment, how he is caught in a maze with regards to decision?making. And finally, the image of a forked road also evocatively signifies the image of one keeping his fingers crossed; that is, the poet hopes for a positive outcome. The poem thus reveals a major turning point in the life of Robert ends on a note of satisfaction, with a sigh. Frost maintains that his decision based on Self-reliance has made all the difference (in his life) traveller in the poem is, therefore, Frost journey is the journey of life. Frost himself warned "You have to be careful of that one; it's a tricky poem ? very tricky. " References Faggen Robert. Robert Frost and the Challenge of Darwin. Ann Arbor: U of Michigan P, 1997. Lawrance Thompson, ed. Selected Letters of Robert Frost. New York: Hold, Rinehart and Winston. p.?xv.
Yes. In my aged years I can read this poem with such vibrancy and enthusiam ! I just feel it now. No, not as lucky as Frost, I just understand what he is teling us all. Man. I consider myself not a follower, and yet, I took the road most traveled. It made a difference alright. Fiddicult, hard, not appreiciated. The road less traveled is stil there. let me look and find.

Nghe câu đ?u c? t??ng l?ng nh?c vào bài th? The road not taken c?a Robert Frost ch?, ai ng? ko ph?i. We all have roads that diverge. Isn't it a wonderful thought? Our lives are just pure momentary choices with millions of possibilities and permutations. Surprisingly, a very interesting video on something I wasn't initially interested in. Beautiful. i live in Ireland. So easy to lose appreciation of it. Those iambic feet will wander back into my mind - I see what you did there.

The Roads Not Taken 60 Frame Rate Payment Discount Rated 8.6 / 10 based on 793 reviews.