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Analysis and comments on The Road Not Taken by Robert Frost

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Comment 567 of 1187, added on April 21st, 2009 at 6:59 PM.

I love this poem. My class read it too! We didi a activity. I love Robert
Frost and his poems!

Sarojit Roy from United States
Comment 566 of 1187, added on April 13th, 2009 at 4:23 PM.

this is a wonderful poem. very nice i LOVE IT!!!

Pieface from United States
Comment 565 of 1187, added on April 10th, 2009 at 12:05 PM.


HaraAppoida from United States
Comment 564 of 1187, added on April 4th, 2009 at 2:58 PM.

In 'The Road Not Taken' by Robert frost the last line would touch every
thought in each line of the poem to me. The 'difference' in the first
stanza shows us perhaps the Fall of his life with the "yellow wood" as
tree's leaves turn each fall, his life changes with each new road he
chooses. He also seems to take some time choosing which road here with,
"And looked down one as far as I could". He then looks down the one
opposite to it and chooses that one because it seems "grassy and wanted
wear" or hadn't been traveled much. In the third stanza he tells us the
difference that "In leaves no step had trodden black" as leaves do turn
when walked on and they start to become compost as they rot. He says "I
kept the first for another day!" which was wishful thinking because he
tells us to go back to it would mean tracing himself back to the beginning
of this path, which would be very difficult as "Yet knowing how way leads
on to way”. Again the "difference" shows up here because each path leads to
a network of paths and decisions. He says all this with a “sigh" as if to
say I chose what I chose and I must make the best of it I can. He also says
these paths we take are never ending in that we go threw "ages and ages
hence". He does insist on the road less traveled. This leads me to believe
he is up for the challenge that may come his way as a new path maker in
life. The difference here being you are forced to lead yourself and learn
from all you do, mistakes or failures or success or great choices.

Linda from United States
Comment 563 of 1187, added on March 16th, 2009 at 6:29 PM.

first of all i'am not from algeria,iam from Tunisia. i put algeria because
can't found Tunisia and algeria is near Tunisia.

the speaker in this poem is solitary traveller.
*travel--> symbolic meaning-->> people's journey in life.
*journey-->implies experience and knowledge.
--> it's not a coice it's rather an obligation.
this experience is a must-->the individual must undertake knowledge-->>
must be a personal achievement.
*the setting:
+ place--> woods--> a small forest--> related to nature.--> most of
Frost's poems are set in nature.This place is related to
unknowen->misterious place.
snowy woods--> winter-> feeling of cold-> loneliness.
snow--> winter-->> signifiance of death--> dead season .
+ time--> evening-> darkness-->24th of December.
evening night--> darkness VS snow--> white-->> colours--> white VS
black----->>> duality of life and death.
The speaker is hesitating between to persue his way or not--->> the theme
of hesitation;
-pursuing his way
-staying where he(woods/evening/winter/snow/dark/gloomy/calm/soft like
cotton...)--> he risks death--> he can loose conciousness...
for more analysis contact me on my E-mail :)

Ramy from Algeria
Comment 562 of 1187, added on February 26th, 2009 at 8:50 AM.

I think this poem is really cool thats just my opinion...hmm i think i will
do this for my project..:)

Aly from United States
Comment 561 of 1187, added on February 18th, 2009 at 1:27 AM.

Everyone thinks Frost is such an easy poet to analyze because he uses the
language of everyday speech. Do not be deceived. Look closely at the last
two lines of the second stanza. There was basically no difference between
the two paths.

And what about that dash after the I in the last stanza? Why is he pausing?
Is this a poem about creating a fiction many years later?
The Russians who also produced Tolstoy and Chekov, loved Frost.

Robert from United States
Comment 560 of 1187, added on February 12th, 2009 at 9:40 AM.

Why are all you people acting like this, this poem isn't for you nor I to
critizize, it is to inspire us to do what others would not do, Think. So
remember that when you start posting false comments and respect this poem
and it's arthor.

Ryan{the person with advice} from United States
Comment 559 of 1187, added on January 22nd, 2009 at 11:09 AM.

(February 1, 1902 - May 22, 1967)
Born in Joplin, Missouri, James Langston Hughes was a member of an
abolitionist family. He was the great-great-grandson of Charles Henry
Langston, brother of John Mercer Langston, who was the first Black American
to be elected to public office, in 1855. Hughes attended Central High
School in Cleveland, Ohio, but began writing poetry in the eighth grade,
and was selected as Class Poet. His father didn't think he would be able to
make a living at writing, and encouraged him to pursue a more practical
career. He paid his son's tuition to Columbia University on the grounds he
study engineering. After a short time, Langston dropped out of the program
with a B+ average; all the while he continued writing poetry. His first
published poem was also one of his most famous, "The Negro Speaks of
Rivers", and it appeared in Brownie's Book. Later, his poems, short plays,
essays and short stories appeared in the NAACP publication Crisis Magazine
and in Opportunity Magazine and other publications.

One of Hughes' finest essays appeared in the Nation in 1926, entitled "The
Negro Artist and the Racial Mountain". It spoke of Black writers and poets,
"who would surrender racial pride in the name of a false integration,"
where a talented Black writer would prefer to be considered a poet, not a
Black poet, which to Hughes meant he subconsciously wanted to write like a
white poet. Hughes argued, "no great poet has ever been afraid of being
himself." He wrote in this essay, "We younger Negro artists now intend to
express our individual dark-skinned selves without fear or shame. If white
people are pleased we are glad. If they aren't, it doesn't matter. We know
we are beautiful. And ugly too... If colored people are pleased we are
glad. If they are not, their displeasure doesn't matter either. We build
our temples for tomorrow, as strong as we know how and we stand on the top
of the mountain, free within ourselves."

In 1923, Hughes traveled abroad on a freighter to the Senegal, Nigeria, the
Cameroons, Belgium Congo, Angola, and Guinea in Africa, and later to Italy
and France, Russia and Spain. One of his favorite pastimes whether abroad
or in Washington, D.C. or Harlem, New York was sitting in the clubs
listening to blues, jazz and writing poetry. Through these experiences a
new rhythm emerged in his writing, and a series of poems such as "The Weary
Blues" were penned. He returned to Harlem, in 1924, the period known as the
Harlem Renaissance. During this period, his work was frequently published
and his writing flourished. In 1925 he moved to Washington, D.C., still
spending more time in blues and jazz clubs. He said, "I tried to write
poems like the songs they sang on Seventh Street...(these songs) had the
pulse beat of the people who keep on going." At this same time, Hughes
accepted a job with Dr. Carter G. Woodson, editor of the Journal of Negro
Life and History and founder of Black History Week in 1926. He returned to
his beloved Harlem later that year.

Langston Hughes received a scholarship to Lincoln University, in
Pennsylvania, where he received his B.A. degree in 1929. In 1943, he was
awarded an honorary Lit.D by his alma mater; a Guggenheim Fellowship in
1935 and a Rosenwald Fellowship in 1940. Based on a conversation with a man
he knew in a Harlem bar, he created a character know as My Simple Minded
Friend in a series of essays in the form of a dialogue. In 1950, he named
this lovable character Jess B. Simple, and authored a series of books on

Langston Hughes was a prolific writer. In the forty-odd years between his
first book in 1926 and his death in 1967, he devoted his life to writing
and lecturing. He wrote sixteen books of poems, two novels, three
collections of short stories, four volumes of "editorial" and "documentary"
fiction, twenty plays, children's poetry, musicals and operas, three
autobiographies, a dozen radio and television scripts and dozens of
magazine articles. In addition, he edited seven anthologies. The long and
distinguished list of Hughes' works includes: Not Without Laughter (1930);
The Big Sea (1940); I Wonder As I Wander" (1956), his autobiographies. His
collections of poetry include: The Weary Blues (1926); The Negro Mother and
other Dramatic Recitations (1931); The Dream Keeper (1932); Shakespeare In
Harlem (1942); Fields of Wonder (1947); One Way Ticket (1947); The First
Book of Jazz (1955); Tambourines To Glory (1958); and Selected Poems
(1959); The Best of Simple (1961). He edited several anthologies in an
attempt to popularize black authors and their works. Some of these are: An
African Treasury (1960); Poems from Black Africa (1963); New Negro Poets:
USA (1964) and The Best Short Stories by Negro Writers (1967).

Published posthumously were: Five Plays By Langston Hughes (1968); The
Panther and The Lash: Poems of Our Times (1969) and Good Morning
Revolution: Uncollected Writings of Social Protest (1973); The Sweet
Flypaper of Life with Roy DeCarava (1984).

Langston Hughes died of cancer on May 22, 1967. His residence at 20 East
127th Street in Harlem, New York has been given landmark status by the New
York City Preservation Commission. His block of East 127th Street was
renamed "Langston Hughes Place" .

By: Andrew P. Jackson (Sekou Molefi Baako)

Langston Hughes a biography by Milton Meltzer 1968
Langston Hughes and Gwendolyn Brooks: A Reference Guide by R. Baxter Miller
Langston Hughes, American Poet by Alice Walker 1974
Langston Hughes in the Hispanic World and Haiti by Edward J. Mullen 1977
The World of Langston Hughes Music: A Bibliography of Musical Settings of
Langston Hughes' Works with Recordings and Other Listings by Kenneth
Neilson 1982
Langston Hughes: Before and Beyond Harlem by Faith Berry 1983
Langston Hughes and the Blues by Steven C. Tracy 1988
Langston Hughes: Black Genius, A Critical Evaluation edited by Therman B.
O'Daniel 1977
The Life of Langston Hughes: Vol. I 1902-194, Too, Sing America and Vol. II
1941-1967 Dream A World by Arnold Rampersad 1986

bailey from Algeria
Comment 558 of 1187, added on January 21st, 2009 at 5:03 PM.

i see a lot of people are here who are probably made to read poems in

this one is about the choices we make in life (the two paths). partly it
talks about having to choose and the reality that we can't go back and
change the choices we make...we live with them... what does everyone else
think... the one choice is the road "less-travelled"...what does that mean
to everyone out there ? what do u guys think ?

friend from United States

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Information about The Road Not Taken

Poet: Robert Frost
Poem: 1. The Road Not Taken
Volume: Mountain Interval
Year: 1916
Added: Feb 1 2004
Viewed: 4331 times

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