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We didnt need this money. Illumination is a company looking to make cash grabbing films. Movie watch the roads not taken back. It's my way or the highway. Frost wrote the poem as a joke for a friend, the poet Edward Thomas. When out walking together, Thomas was usually indecisive about which road to take, and often lamented in hindsight that they should have gone the other way. This from The Poetry Foundation website: The poem masquerades as a meditation about choice, but the critic William Pritchard suggests that the speaker is admitting that “choosing one rather than the other was a matter of impulse, impossible to speak about any more clearly than to say that the road taken had ‘perhaps the better claim.” In many ways, the poem becomes about how?through retroactive narrative?the poet turns something as irrational as an “impulse” into a triumphant, intentional decision. Decisions are nobler than whims, and this reframing is comforting, too, for the way it suggests that a life unfolds through conscious design. However, as the poem reveals, that design arises out of constructed narratives, not dramatic actions. When Frost sent the poem to Thomas, Thomas initially failed to realize that the poem was (mockingly) about him. Instead, he believed it was a serious reflection on the need for decisive action. (He would not be alone in that assessment.) Frost was disappointed that the joke fell flat and wrote back, insisting that the sigh at the end of the poem was “a mock sigh, hypo-critical for the fun of the thing.” The joke rankled; Thomas was hurt by this characterization of what he saw as a personal weakness?his indecisiveness, which partly sprang from his paralyzing depression. Thomas presciently warned Frost that most readers would not understand the poems playfulness and wrote, “I doubt if you can get anybody to see the fun of the thing without showing them & advising them which kind of laugh they are to turn on.” Edward Thomas was right, and the critic David Orr has hailed “The Road Not Taken” as a poem that “at least in its first few decades … came close to being reader-proof.” The last stanza?stripped of the poems earlier insistence that the roads are “really about the same”?has been hailed as a clarion call to venture off the beaten path and blaze a new trail. Frosts lines have often been read as a celebration of individualism, an illustration of Emersons claim that “Whoso would be a man, must be a nonconformist.” In the film Dead Poets Society, the iconoclastic teacher Mr. 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. He passionately tells them, “Robert Frost said, ‘Two roads diverged in a wood, and I?/ I took the one less traveled by / And that has made all the difference.” Far from being an ode to the glories of individualism, however, the last stanza is a riddling, ironic meditation on how we turn bewilderment and impulsiveness into a narrative: 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. Again, the language is stylized, archaic, and reminiscent of fairytales. Frost claims he will be telling the story “somewhere ages and ages hence,” a reversal of the fairytale beginning, “Long, long ago in a faraway land.” Through its progression, the poem suggests that our power to shape events comes not from choices made in the material world?in an autumn stand of birches?but from the minds ability to mold the past into a particular story. The roads were about the same, and the speakers decision was based on a vague impulse. The act of assigning meanings?more than the inherent significance of events themselves?defines our experience of the past. The fairytale-like language also accentuates the way the poem slowly launches into a conjuring trick. Frost liked to warn listeners (and readers) that “you have to be careful of that one; its a tricky poem?very tricky.” Part of its trick is that it enacts what it has previously claimed is impossible: the traveling of two roads at once. The poems ending refuses to convey a particular emotional meaning; it playfully evades categorizations even as it describes divisions created by choices. Its triumph is that it does travel two emotional trajectories while cohering as a single statement. We cannot tell, ultimately, whether the speaker is pleased with his choice; a sigh can be either contented or regretful. The speaker claims that his decision has made “all the difference,” but the word difference itself conveys no sense of whether this choice made the speakers life better or worse?he could, perhaps, be envisioning an alternate version of life, one full of the imagined pleasures the other road would have offered. Indeed, when Frost and Thomas went walking together, Thomas would often choose one fork in the road because he was convinced it would lead them to something, perhaps a patch of rare wild flowers or a particular birds nest. When the road failed to yield the hoped-for rarities, Thomas would rue his choice, convinced the other road would have doubtless led to something better. In a letter, Frost goaded Thomas, saying, “No matter which road you take, youll always sigh, and wish youd taken another.” And, indeed, the title of the poem hovers over it like a ghost: “The Road Not Taken.” According to the title, this poem is about absence. It is about what the poem never mentions: the choice the speaker did not make, which still haunts him. Again, however, Frost refuses to allow the title to have a single meaning: “The Road Not Taken” also evokes “the road less traveled,” the road most people did not take. The poem moves from a fantasy of staving off choice to a statement of division. The reader cannot discern whether the “difference” evoked in the last line is glorious or disappointing?or neither. What is clear is that the act of choosing creates division and thwarts dreams of simultaneity. All the “difference” that has arisen?the loss of unity?has come from the simple fact that choice is always and inescapably inevitable. The repetition of I?as well as heightening the rhetorical drama?mirrors this idea of division. The self has been split. At the same time, the repetition of I recalls the idea of traveling two roads as one traveler: one I stands on each side of the line break?on each side of the verses turn?just as earlier when the speaker imagined being a single traveler walking down both roads at once. The poem also wryly undercuts the idea that division is inevitable: the language of the last stanza evokes two simultaneous emotional stances. The poem suggests that?through language and artifice?we can “trick” our way out of abiding by the law that all decisions create differences. We can be one linguistic traveler traveling two roads at once, experiencing two meanings. In a letter, Frost claimed, “My poems … are all set to trip the reader head foremost into the boundless.” The meaning of this poem has certainly tripped up many readers?from Edward Thomas to the iconic English teacher in Dead Poets Society. 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.
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