Life, in all of its enigma, is riddled with different picks one can do. Often the consequence of these picks is non instantly known ; one can merely theorize as to what will result due to their determination. Sometimes, nevertheless, taking one way over the other can go forth a individual doubting or repenting their concluding determination. Such is the instance in Robert Frost ‘s verse form The Road Not Taken in which the talker stands at a fork in the route. Through an analysis of the text and the several literary elements Frost employs such as: imagination, personification, scene, and chant one can understand the nonliteral nature of the verse form every bit good as the actual significance. The picks one makes today can hold both positive and negative effects on their life because merely as a route leads to a finish, a determination excessively leads to concluding results. Similarly, by analysing the scansion of the text the construction of the verse form and its metre attention deficit disorder to how one both reads and interprets the verse form and allows one to bring out the drawn-out metaphor that represents life as a series of paths one chooses to take.
Immediately, the reader is confronted with a spondee at the beginning of the text: “ two roads ” ( Line 1 ) . This spondee emphasizes the built-in equality nowadays between these two roads as the verse form subsequently reinforces. However, after declaring the two roads ‘ equality by using the scansion construction of the verse form, Frost so declares that they “ diverge ” signaling to the reader that while the two may look equal in visual aspect they lead to two really different topographic points. Literally talking, the traveller is confronted with a fork in the route and must make up one’s mind which way to take.
However, the imagination Frost employs offers an surrogate apprehension of the traveller and his riddle. He describes the forests as “ xanthous, ” which tells the reader that it is autumn ( Line 1 ) . This is of import because as the foliages are altering the talker ‘s life is besides altering. How it will alter, nevertheless, depends upon his taking one route over the other. As he looks down the route he is seeking his best to understand the deductions of his choosing. Unfortunately, the “ underbrush ” conceals what lay beyond his sight and he must alternatively trust on an educated conjecture.
His determination to take the second of the two roads seems as though it was non wholly his determination. The talker describes the 2nd route as being “ grassy and want [ ing ] wear ” ( Line 8 ) . This initial rhyme emphasizes this peculiar way and so excessively ; the act of “ desiring ” personifies the route and influences the talker in his journey. However, “ wanted ” may besides be defined as older English significance “ lacking. ” If the audience chooses the conventional definition it seems as though the route is moving upon the talker. Contrarily, utilizing the 2nd definition signals that the talker is action upon the route. Either manner the scene is easy imagined thanks to Frost ‘s careful pick of enunciation. It is easy for the audience to conceive of the talker standing at this fork weighing his options, seeking his hardest to do the right determination.
However, this easiness of conceive ofing the scene besides serves to do the audience cognizant that these are non two roads, but are instead possible waies to take in life. Had they been entirely paths in the forests the strength of idea and contemplation would non necessitate to be at that place. Alternatively, it would be easy to take one knowing that there is ever the possibility to turn back. Contrarily, the tone of the verse form signals to the reader the conclusiveness of his taking one over the other. There is no turning back and taking the other class. Therefore, the “ grassy ” and unworn nature of the route signifies that the talker has most likely come to a similar split in the route, in life, and has acted one manner the bulk of the clip. Bing in the fall of his life as signaled by the altering colour of the forests, the talker chooses otherwise than he usually would.
The tone, nevertheless, takes a bend upon come ining the last stanza. It states: “ I shall be stating this with a sigh – someplace ages and ages hence ” ( Lines 16, 17 ) . Frost ‘s pick of enunciation here: “ suspiration ” coupled with the word “ regretful ” from the first stanza conveys a glooming, premonition, baleful tone ( line 2 ) . It becomes rather clear so that this verse form is in actuality this retelling he speaks of at the terminal of the text.
Therefore, a suspiration is built-in throughout the verse form. Knowing this, the tone of the verse form seems to go more sorry than it is glooming or premonition. The last line of the verse form is important to the concluding successful apprehension of the text. “ I took the 1 less traveled by, / and that has made all the difference ” ( Line 20 ) . Because we now know that the whole text is really a retelling, a flashback, the last line is the lone portion of the verse form that seems to be in the present text. This line signals that because of his taking one over the other he is where he is now.
However, the tone adds to this statement the making that he is where he is now, but he could be someplace else which could perchance be better. It is safe to state that the tone is one of sorrow due to this built-in add-on: I am here, but I could be someplace else. This impression is solidified by the rubric of the verse form: The Road Not Taken. The “ non ” signifies that the verse form is non about the way the talker chooses, but is instead a expression back at the route non taken, which the talker seems to believe would hold afforded him some greater experience in life. This, nevertheless, seems to be fuzzed logic. It is unjust to fault each subsequent determination on one. In the immortal words of stone fables Led Zeppelin “ yes, there are two paths you can travel by, but in the long tally there ‘s still clip to alter the route you ‘re on ” ( Lyrics, Stairway to Heaven ) .