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- Correspondent - Luisa Dawson
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2020
Genre: Drama
star: Branka Katic
writed by: Sally Potter
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One of the most widely quoted poems ever written, “The Road Not Taken” was completed in 1915 and first published in Frost’s volume Mountain Interval (1916). Taught in high school classrooms across the English-speaking world, it’s become popular as a depiction of rugged individuality, of “straying from the beaten path. ” But is it that simple? According to critic William Pritchard: [Frost] characterized himself in that poem particularly as ‘fooling my way along. ’ He also said that it was really about his friend Edward Thomas, who when they walked together always castigated himself for not having taken another path than the one they took. When Frost sent ‘The Road Not Taken’ to Thomas he was disappointed that Thomas failed to understand it as a poem about himself, but Thomas in return insisted to Frost that ‘I doubt if you can get anybody to see the fun of the thing without showing them and advising them which kind of laugh they are to turn on. ’ And though this sort of advice went exactly contrary to Frost’s notion of how poetry should work, he did on occasion warn his audiences and other readers that it was a tricky poem. Yet it became a popular poem for very different reasons than what Thomas referred to as ‘the fun of the thing. ’ It was taken to be an inspiring poem rather, a courageous credo stated by the farmer-poet of New Hampshire. In fact, it is an especially notable instance in Frost’s work of a poem which sounds noble and is really mischievous ( Frost: A Literary Life Reconsidered, 1984) Structure The poem comprises four stanzas of five lines each, known as quintains. The rhythm is varied; there is no clear metrical pattern, but strong use of enjambment creates a ‘conversational’ flow that is intimate and seems informal, as if the poet is ‘talking’ to the reader. The rhyme scheme throughout is ABAAB, Language and Imagery The voice is that of the poet or narrator, using the first person ‘I’. The language is simple and accessible, though the ideas are more complex than they seem. The overriding or extended metaphor is that of the road and the journey, representing life and its choices ? or lack of them!
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; 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, 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. 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.
Free movie the roads not taken trailer. Free movie the roads not taken together. When analyzing Robert Frost 's poem, "The Road Not Taken, " first look at the shape of the poem on the page: four stanzas of five lines each; all lines are capitalized, flush left, and of approximately the same length. The rhyme scheme is A B A A B. There are four beats per line, mostly iambic with interesting use of anapests. The strict form makes it clear that the author is very concerned with form, with regularity. This formal style is totally Frost, who once said that writing free verse was “like playing tennis without a net. ” Content On first reading, the content of “The Road Not Taken” also seems formal, moralistic, and American: Two roads diverged in a wood, and I? I took the one less traveled by, And that has made all the difference. These three lines wrap the poem up and are its most famous lines. Independence, iconoclasm, self-reliance?these seem the great American virtues. But just as Frost’s life was not the pure agrarian philosophe’s we imagine (for that poet, read Fernando Pessoa’s heteronym, Alberto Caeiro, especially the terrific “Keeper of Sheep”), so “The Road Not Taken” is also more than a panegyric for rebelling in the American grain. The Tricky Poem Frost himself called this one of his “tricky” poems. First, there is that title: “The Road Not Taken. ”?If this is a poem about the road not taken,?then is it about the road that the poet actually does take?the one most people do not take? This is the path that was, as he states, perhaps the better claim, Because it was grassy and wanted wear; Or is it about the road the?poet?did not take, which is the one that most people take??Or, for all that, is the point actually that it does not matter really which road you take, because even when you look way, way down to the bend you can’t actually tell which one to choose: the passing there Had worn them really about the same. And both that morning equally lay In leaves no step had trodden black. Analysis Take heed here: The roads are really about the same. In the yellow woods (what season is this? what time of day? what feeling do you get from “yellow? ”), a road splits, and our traveler stands for a long time in Stanza 1 looking as far as he can down this leg of the “Y”?it is not immediately apparent which way is “better. ” In Stanza 2 he takes “the other, ” which is “grassy and wanted wear” (very good use of “wanted” here?for it to be a road it must be walked on, without the wear it is “wanting” that use). Still, the nub is, they both are “really about the same. ” Are you reminded of Yogi Berra’s famous quote, “If you come to a fork in the road, take it? ” Because in Stanza 3 the similarity between the roads is further detailed, that this morning (aha! ) no one has yet walked upon the leaves (autumn? aha! ). Oh well, the poet sighs, I’ll take the other one next time. This is known, as Gregory Corso put it, as “The Poet’s Choice:” “If you gotta choose between two things, take both of ‘em. ” However, Frost acknowledges that usually when you take one way you keep going that way and rarely if ever circle back to try the other. We are, after all, trying to get somewhere. Aren’t we? However, this, too, is a loaded philosophical Frost question with no easy answer. So we make it to the fourth and final Stanza. Now the poet is old, remembering back to that morning on which this choice was made. Which road you take now seems to make all the difference, and the choice was/is clear, to take the road less traveled. Old age has applied the concept of Wisdom to a choice that was, at the time, basically arbitrary. But because this is the last stanza, it seems to carry the weight of truth. The words are concise and tough, not the ambiguities of the earlier stanzas. The last verse so upends the whole poem that a casual reader will say “Gee, this poem is so cool, listen to your own drummer, go your own way, Voyager! ” In fact, though, the poem is trickier, more complicated. Context In fact, when he was living in England, which is where this poem was written, Frost would often go on country rambles with the poet Edward Thomas, who used to try Frost’s patience when trying to decide which route to take. Is this the final trickiness in the poem, that it is actually a personal gibe at an old friend, saying, “Let’s go, Old Chap! Who cares which fork we take, yours, mine or Yogi’s? Either way, there’s a cuppa and a dram at the other end! ”? From Lemony Snicket’s The Slippery Slope: “A man of my acquaintance once wrote a poem called ‘The Road Less Traveled, ’ describing a journey he took through the woods along a path most travelers never used. The poet found that the road less traveled was peaceful but quite lonely, and he was probably a bit nervous as he went along, because if anything happened on the road less traveled, the other travelers would be on the road more frequently traveled and so couldn’t hear him as he cried for help. Sure enough, that poet is now dead. ” ~Bob Holman.
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One of the most widely quoted poems ever written, “The Road Not Taken” was completed in 1915 and first published in Frost’s volume Mountain Interval (1916). Taught in high school classrooms across the English-speaking world, it’s become popular as a depiction of rugged individuality, of “straying from the beaten path. ” But is it that simple? According to critic William Pritchard: [Frost] characterized himself in that poem particularly as ‘fooling my way along. ’ He also said that it was really about his friend Edward Thomas, who when they walked together always castigated himself for not having taken another path than the one they took. When Frost sent ‘The Road Not Taken’ to Thomas he was disappointed that Thomas failed to understand it as a poem about himself, but Thomas in return insisted to Frost that ‘I doubt if you can get anybody to see the fun of the thing without showing them and advising them which kind of laugh they are to turn on. ’ And though this sort of advice went exactly contrary to Frost’s notion of how poetry should work, he did on occasion warn his audiences and other readers that it was a tricky poem. Yet it became a popular poem for very different reasons than what Thomas referred to as ‘the fun of the thing. ’ It was taken to be an inspiring poem rather, a courageous credo stated by the farmer-poet of New Hampshire. In fact, it is an especially notable instance in Frost’s work of a poem which sounds noble and is really mischievous ( Frost: A Literary Life Reconsidered, 1984) Structure The poem comprises four stanzas of five lines each, known as quintains. The rhythm is varied; there is no clear metrical pattern, but strong use of enjambment creates a ‘conversational’ flow that is intimate and seems informal, as if the poet is ‘talking’ to the reader. The rhyme scheme throughout is ABAAB, Language and Imagery The voice is that of the poet or narrator, using the first person ‘I’. The language is simple and accessible, though the ideas are more complex than they seem. The overriding or extended metaphor is that of the road and the journey, representing life and its choices ? or lack of them!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; 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, 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. 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.
Free movie the roads not taken trailer. Free movie the roads not taken together. When analyzing Robert Frost 's poem, "The Road Not Taken, " first look at the shape of the poem on the page: four stanzas of five lines each; all lines are capitalized, flush left, and of approximately the same length. The rhyme scheme is A B A A B. There are four beats per line, mostly iambic with interesting use of anapests. The strict form makes it clear that the author is very concerned with form, with regularity. This formal style is totally Frost, who once said that writing free verse was “like playing tennis without a net. ” Content On first reading, the content of “The Road Not Taken” also seems formal, moralistic, and American: Two roads diverged in a wood, and I? I took the one less traveled by, And that has made all the difference. These three lines wrap the poem up and are its most famous lines. Independence, iconoclasm, self-reliance?these seem the great American virtues. But just as Frost’s life was not the pure agrarian philosophe’s we imagine (for that poet, read Fernando Pessoa’s heteronym, Alberto Caeiro, especially the terrific “Keeper of Sheep”), so “The Road Not Taken” is also more than a panegyric for rebelling in the American grain. The Tricky Poem Frost himself called this one of his “tricky” poems. First, there is that title: “The Road Not Taken. ”?If this is a poem about the road not taken,?then is it about the road that the poet actually does take?the one most people do not take? This is the path that was, as he states, perhaps the better claim, Because it was grassy and wanted wear; Or is it about the road the?poet?did not take, which is the one that most people take??Or, for all that, is the point actually that it does not matter really which road you take, because even when you look way, way down to the bend you can’t actually tell which one to choose: the passing there Had worn them really about the same. And both that morning equally lay In leaves no step had trodden black. Analysis Take heed here: The roads are really about the same. In the yellow woods (what season is this? what time of day? what feeling do you get from “yellow? ”), a road splits, and our traveler stands for a long time in Stanza 1 looking as far as he can down this leg of the “Y”?it is not immediately apparent which way is “better. ” In Stanza 2 he takes “the other, ” which is “grassy and wanted wear” (very good use of “wanted” here?for it to be a road it must be walked on, without the wear it is “wanting” that use). Still, the nub is, they both are “really about the same. ” Are you reminded of Yogi Berra’s famous quote, “If you come to a fork in the road, take it? ” Because in Stanza 3 the similarity between the roads is further detailed, that this morning (aha! ) no one has yet walked upon the leaves (autumn? aha! ). Oh well, the poet sighs, I’ll take the other one next time. This is known, as Gregory Corso put it, as “The Poet’s Choice:” “If you gotta choose between two things, take both of ‘em. ” However, Frost acknowledges that usually when you take one way you keep going that way and rarely if ever circle back to try the other. We are, after all, trying to get somewhere. Aren’t we? However, this, too, is a loaded philosophical Frost question with no easy answer. So we make it to the fourth and final Stanza. Now the poet is old, remembering back to that morning on which this choice was made. Which road you take now seems to make all the difference, and the choice was/is clear, to take the road less traveled. Old age has applied the concept of Wisdom to a choice that was, at the time, basically arbitrary. But because this is the last stanza, it seems to carry the weight of truth. The words are concise and tough, not the ambiguities of the earlier stanzas. The last verse so upends the whole poem that a casual reader will say “Gee, this poem is so cool, listen to your own drummer, go your own way, Voyager! ” In fact, though, the poem is trickier, more complicated. Context In fact, when he was living in England, which is where this poem was written, Frost would often go on country rambles with the poet Edward Thomas, who used to try Frost’s patience when trying to decide which route to take. Is this the final trickiness in the poem, that it is actually a personal gibe at an old friend, saying, “Let’s go, Old Chap! Who cares which fork we take, yours, mine or Yogi’s? Either way, there’s a cuppa and a dram at the other end! ”? From Lemony Snicket’s The Slippery Slope: “A man of my acquaintance once wrote a poem called ‘The Road Less Traveled, ’ describing a journey he took through the woods along a path most travelers never used. The poet found that the road less traveled was peaceful but quite lonely, and he was probably a bit nervous as he went along, because if anything happened on the road less traveled, the other travelers would be on the road more frequently traveled and so couldn’t hear him as he cried for help. Sure enough, that poet is now dead. ” ~Bob Holman.
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