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THE ROAD NOT TAKEN
-BY ROBERT FROST
PRESENTED BY-
NITIN CHHAPERWAL
CLASS-IX
ROLL NO - 15
Robert Frost 1874-
1963
Robert Frost was born in San Francisco,
California but spent most of his life in New
England, a rural area in the north east of
the United States. The area is
characterized by hills, woods, farms and
small towns. Frost himself worked for
many years as a farmer, in addition to
teaching English and writing poems. His
poems reflect the sights and sounds of
where he lived, the fields, farms and
woods and scenes of everyday life. All
those elements make Frost’s poems
accessible, leading readers to understand
the deeper truths behind seemingly simple
ideas.
Most people have been faced with a fork in an actual road or path, and not been sure which
path to go down. Of course, today, we can whip out a GPS or cell phone and figure out which
is the correct path. But if we're beyond the reach of satellites, we just make a choice, unaided
by technology. We might pick the road that gets us where we want to go, or one that takes us
somewhere new, but either way, the road we choose takes us to where we are.
Just like trying to pick a path when we're driving or walking, we've all had to choose from
different paths in life: which job to take, which college to go to, which girl or boy to ask to
homecoming – the list of life's choices is endless. And for every metaphorical road we take in
life, there is a road not taken – the club we didn't join, the class we didn't take, the words we
didn't say.
One of the big questions we face is whether or not to take the well-beaten, typical path. Is that
the best choice, or should we be non-conformists and take the less-travelled route? Years into
the future, after making our decision, how will we feel about the path we've chosen?
Robert Frost's "The Road Not Taken" is about these quandaries, present in every person's
life. A lot of people think this poem is encouraging us to take the road that's less travelled. And
while it's easy to fall into that well-beaten path of analysis, it's not exactly accurate. So make
sure that when you read this poem, you take your own road, whether it's the road less
travelled or not.
INTRODUCTION
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
On the road of life, the speaker arrives
at a point where he must decide which
of two equally appealing (or equally
intimidating) choices is the better one.
He examines one choice as best he
can, but the future prevents him from
seeing where it leads.
1ST STANZA ?
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
The speaker selects the road that
appears at first glance to be less
worn and therefore less travelled.
This selection suggests that he has
an independent spirit and does not
wish to follow the crowd. After a
moment, he concludes that both
roads are about equally worn.
2ND STANZA ?
And both that morning equally lay
In leaves no step had trodden black.
Oh, I marked the first for another day!
Yet knowing how way leads on to way
I doubted if I should ever come back.
Leaves cover both roads equally. No one on
this morning has yet taken either road, for
the leaves lie undisturbed. The speaker
remains committed to his decision to take
the road he had previously selected, saying
that he will save the other road for another
day. He observes, however, that he
probably will never pass this way again and
thus will never have an opportunity to take
the other road.
3RD STANZA ?
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.
In years to come, the speaker
says, he will be telling others
about the choice he made. While
doing so, he will sigh either with
relief that he made the right
choice or with regret that he
made the wrong choice. Whether
right or wrong, the choice will
have had a significant impact on
4TH STANZA ?
LITERARY DEVICES
There are plenty literary devices in this poem to be discovered. One of these is
antithesis. When the traveller comes to the fork in the road, he wishes he could
travel both. Within the current theories of our physical world, this is a non possibility
(unless he has a split personality). The traveller realizes this and immediately rejects the
idea.
Yet another little contradiction are two remarks in the second stanza about the road less
travelled. First it's described as grassy and wanting wear, after which he turns to say the
roads are actually worn about the same (perhaps the road less travelled makes travellers
turn back?).
All sensible people know that roads don't think, and therefore don't want. They can't. But
the description of the road wanting wear is an example of personificationin this
poem. A road actually wanting some as a person would.
The poet has also used imageryas a literary device: "Two roads diverged in a
yellow wood" (from the first stanza), and "And both that morning equally lay/in
leaves no step had trodden black" (from the third stanza) to create a picture in the
reader's mind.
Our speaker has come to a fork in a path in the woods. It's fall, and the
leaves are turning colors. He's unsure which way to go, and wishes he
could go both ways. He looks down one path as far as he can see, but then
he decides to take the other. He thinks the path he decides to take is not
quite as worn as the other one, but really, the paths are about the
same, and the fallen leaves on both look pretty fresh.
The speaker reflects on how he plans to take the road that he didn't take
another day, but suspects that he probably won't ever come back.
Instead, far off in the future, he'll be talking about how his decision was
final and life changing.
SUMMARY

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The road not taken-Robert Frost

  • 1. THE ROAD NOT TAKEN -BY ROBERT FROST PRESENTED BY- NITIN CHHAPERWAL CLASS-IX ROLL NO - 15
  • 2. Robert Frost 1874- 1963 Robert Frost was born in San Francisco, California but spent most of his life in New England, a rural area in the north east of the United States. The area is characterized by hills, woods, farms and small towns. Frost himself worked for many years as a farmer, in addition to teaching English and writing poems. His poems reflect the sights and sounds of where he lived, the fields, farms and woods and scenes of everyday life. All those elements make Frost’s poems accessible, leading readers to understand the deeper truths behind seemingly simple ideas.
  • 3.
  • 4. Most people have been faced with a fork in an actual road or path, and not been sure which path to go down. Of course, today, we can whip out a GPS or cell phone and figure out which is the correct path. But if we're beyond the reach of satellites, we just make a choice, unaided by technology. We might pick the road that gets us where we want to go, or one that takes us somewhere new, but either way, the road we choose takes us to where we are. Just like trying to pick a path when we're driving or walking, we've all had to choose from different paths in life: which job to take, which college to go to, which girl or boy to ask to homecoming – the list of life's choices is endless. And for every metaphorical road we take in life, there is a road not taken – the club we didn't join, the class we didn't take, the words we didn't say. One of the big questions we face is whether or not to take the well-beaten, typical path. Is that the best choice, or should we be non-conformists and take the less-travelled route? Years into the future, after making our decision, how will we feel about the path we've chosen? Robert Frost's "The Road Not Taken" is about these quandaries, present in every person's life. A lot of people think this poem is encouraging us to take the road that's less travelled. And while it's easy to fall into that well-beaten path of analysis, it's not exactly accurate. So make sure that when you read this poem, you take your own road, whether it's the road less travelled or not. INTRODUCTION
  • 5. 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
  • 6. On the road of life, the speaker arrives at a point where he must decide which of two equally appealing (or equally intimidating) choices is the better one. He examines one choice as best he can, but the future prevents him from seeing where it leads. 1ST STANZA ?
  • 7. 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
  • 8. The speaker selects the road that appears at first glance to be less worn and therefore less travelled. This selection suggests that he has an independent spirit and does not wish to follow the crowd. After a moment, he concludes that both roads are about equally worn. 2ND STANZA ?
  • 9. And both that morning equally lay In leaves no step had trodden black. Oh, I marked the first for another day! Yet knowing how way leads on to way I doubted if I should ever come back.
  • 10. Leaves cover both roads equally. No one on this morning has yet taken either road, for the leaves lie undisturbed. The speaker remains committed to his decision to take the road he had previously selected, saying that he will save the other road for another day. He observes, however, that he probably will never pass this way again and thus will never have an opportunity to take the other road. 3RD STANZA ?
  • 11. 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.
  • 12. In years to come, the speaker says, he will be telling others about the choice he made. While doing so, he will sigh either with relief that he made the right choice or with regret that he made the wrong choice. Whether right or wrong, the choice will have had a significant impact on 4TH STANZA ?
  • 13. LITERARY DEVICES There are plenty literary devices in this poem to be discovered. One of these is antithesis. When the traveller comes to the fork in the road, he wishes he could travel both. Within the current theories of our physical world, this is a non possibility (unless he has a split personality). The traveller realizes this and immediately rejects the idea. Yet another little contradiction are two remarks in the second stanza about the road less travelled. First it's described as grassy and wanting wear, after which he turns to say the roads are actually worn about the same (perhaps the road less travelled makes travellers turn back?). All sensible people know that roads don't think, and therefore don't want. They can't. But the description of the road wanting wear is an example of personificationin this poem. A road actually wanting some as a person would. The poet has also used imageryas a literary device: "Two roads diverged in a yellow wood" (from the first stanza), and "And both that morning equally lay/in leaves no step had trodden black" (from the third stanza) to create a picture in the reader's mind.
  • 14. Our speaker has come to a fork in a path in the woods. It's fall, and the leaves are turning colors. He's unsure which way to go, and wishes he could go both ways. He looks down one path as far as he can see, but then he decides to take the other. He thinks the path he decides to take is not quite as worn as the other one, but really, the paths are about the same, and the fallen leaves on both look pretty fresh. The speaker reflects on how he plans to take the road that he didn't take another day, but suspects that he probably won't ever come back. Instead, far off in the future, he'll be talking about how his decision was final and life changing. SUMMARY