Thus far, the entire poem has been one sentence. In fact, he predicts that his future self will betray this moment of decision as if the betrayal were inevitable. This brings us back to the poem and the decision Thomas had been long agonizing over. Paths in the woods and forks in roads are ancient and deep-seated metaphors for the lifeline, its crises and decisions. Would he flee for safer shores, or stand and defend his country? Copyright 1916, 1923, 1928, 1930, 1934, 1939, 1947, 1949, © 1969 by Holt Rinehart and Winston, Inc. The speaker chooses one, telling himself that he will take the other another day.
It is even possible that they are worn the same at the path entrances only and that many turned around when reaching the undergrowth of the first path. There are all reasons to approach the choice, based on your own preferences and thoughts. His daughter, Irma, also had to be committed for mental health issues, ultimately dying in 1967. You take the high road, I'll take the low road. Yet knowing how way leads on to way, I doubted if I should ever come back.
Yet knowing how way leads on to way, I doubted if I should ever come back. And like the character in the poem, often times, we are disappointed that we cannot hold on to, and experience the consequences of every opportunity that is presented to us. This poem is about the road taken, to be sure, as well the road not taken, not necessarily the road less traveled. When making a choice, one is required to make a decision. Its triumph is that it does travel two emotional trajectories while cohering as a single statement.
Line thirteen is an important point in this poem as this is when the individual finalizes his decision of leaving the other road, for perhaps another time. For any mass audience to recognize any poem is to put it mildly unusual. The ambiguity springs from the question of free will versus determinism, whether the speaker in the poem consciously decides to take the road that is off the beaten track or only does so because he doesn't fancy the road with the bend in it. Oh, I kept the first for another day! On a word-for-word basis, it may be the most popular piece of literature ever written by an American. Decisions are nobler than whims, and this reframing is comforting, too, for the way it suggests that a life unfolds through conscious design. Clearly, this is to emphasize that both roads appeared untouched, not having been tarnished by the foot of a previous traveler.
In the poem this situation is shown on the most obvious external image of the fork. The fairytale-like language also accentuates the way the poem slowly launches into a conjuring trick. But Frost likely left this ambiguity on purpose so that the reader would not focus so much on condition of the road, and, instead, focus on the fact that he chose a road any road, whether it was that which was less traveled by or not , and that, as a result, he has seen a change in his life. 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. 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. In choosing safety, however, he knew full well that he would claim he took the risky road and won. There is a decision to be made and a life will be changed.
The Road Not Taken has four stanzas of five lines. Often it seems to the person that he knows exactly what is at the end of one of the roads, however this assumption is far from true. His honesty is a reality check as well as a means of making a final decision. The poem has a convenient form for perception, and its images are accessible to the widest circle of people. You felt deep in your bones what Frost was trying to convey. But life is rarely that simple.
Nonetheless, that is the way he is going now, and the place he ends up, for better or worse, was the result of his decision. He seems to reserve the right in the future to tell about this choice differently, what it looks like in reality. But is there any actual evidence to support one interpretation over the other, at least as far as Frost was intending when he wrote it if he had any real intent at all? These are the facts; we cannot justifiably ignore the reverberations they send through the easy aphorisms of the last two stanzas. What are sighed for ages and ages hence are not so much the wrong decisions as the moments of decision themselves—moments that, one atop the other, mark the passing of a life. Frost liked to tease and goad. On the second — it is deeply philosophical and concerns the present time.
Yet knowing how way leads on to way, I doubted if I should ever come back. A few more choice words later and the pair parted ways with the gamekeeper. Royalty-free music purchased at Premiumbeat. They click upon themselves As. Her poetry and fiction have appeared in The Kenyon Review, The Hudson Review, Poet Lore, The Common and elsewhere.
All the speaker knows is that he prefers the road less travelled, perhaps because he enjoys solitude and believes that to be important. After all, in reality there are two absolutely identical roads in front of him. The central message is that, in life, we are often presented with choices. The author leads us to his conclusion rather than letting us interpret the poem as we see fit. It is the hallmark of the true poet to take such everyday realities, in this case, the sighs of a friend on a country walk, and transform them into something so much more. He became woefully ashamed of what he perceived as his cowardice in the matter.