In order to properly analyze the poem, it is necessary to know its main elements.
First of all, it is important to define the main them of a poem. In most cases, poems discloses the problem of love, death, friendships of choice making. Second, the poems are often based on symbolic and literal representation of some conceptions. This is carried out through using various stylistic devices. Finally, the analysis of a poem presupposes the consideration of versification characteristics which contribute to better understanding of poet’s intentions.
Road Not Taken is a poem written by poet Robert Frost. While reading the poem, it is possible single out several thematic concerns. One the one hand, the last lines of the verse express the notes of individualism and ironically interpret the author’s searching for his place in life. In particular, the last two lines – “I took the one less traveled by,/ And that has made all the difference” – implies that the poet was not afraid of taking important decisions (Frost 881). Moreover, this renders the speaker’s desire to remain unconventional and original in searching for unusual way-outs. Considering another side of the poem, it should be stressed that the work reflects the idea of making choices in life and explaining people’s decisions. In this case, the poem discusses the mains underpinning for rationalizing choices and solutions and sometime those actions can be perceived either with pride or with regret. In addition, by describing two roads, the poet intends to say that everything that happens is the result of actions and non-actions.
A person always takes responsibility for his/her life. This theme of fate and choice is explicitly presented in the following lines: “Two roads diverged in a yellow wood/ And sorry I could not travel both/ And be one traveler not travel both” (Frost 880). Analyzing the above-presented lines in more details, the author, on the one hand, emphasizes that each person should inevitable make one choice out of several. Therefore, human’s life consists of constant decision making that move person further. As the poem bear an autobiographical character, it is possible to assume that the poet feels some regret for choosing the unknown path in life. Hence hesitates whether “[he] should have ever come back” (Frost 880).
The sign, therefore, can express the poet’s disappointment and regret about the path chosen.
Robert Frost’s poem Acquainted with the Night bears a deep symbolic meaning. In particular, the work reflects authors’ deep depression and isolated existence.
He finds himself in an empty place, although he is in the city full of noise and people. In such a way, he provides a metaphoric comparison city with the night: “I have been one acquainted with the night/ I have walked out in rain – and back in rain/ I have outwalked the furthest city light” (Frost 702). In addition, night also symbolically conveys silence and solitary life of the speaker.
Hence, the poet highlights tat he can “stop the sound of feet” (Frost 702). In other words, the city is so empty that can hear a drop of a pin. By using such word epithets like “saddest”, “unwilling”, and “furthest”, the speaker emphasizes his deep depression (Frost 702). Moreover, Frost compares time with “the luminary clock against the sky” as if intending to underline its indifference to the events and people surrounding him. The poem also provides interpretation of loneliness by using different metaphors and indifference to an “uninterrupted cry” (Frost 702). More importantly, he perceives this scream as something alien and hostile that does not concern him.
By using personification, the poet compares this sound with another world that is separated from the speaker. The next lines presume that the city and people that surround him are not willing to accept the speaker either: “… But not to call me back or say good-by; And further still at an unearthly height/ One luminary clock against the sky” (Frost 702). In such a way, the author establishes the gap between the inner world of the city and his own. In general, the author put an emphasis on metaphoric constructions and similes.
My Papa’s Waltz written by Theodore Roethke belongs to iambic trimeter.
It means that the poem is composed of three iambic units in one line. The iamb identifies that the stress is posed on the second syllable. It should be stressed that the author makes use of accentual-syllabic iambic trimeter, where each line is composed of three iambic feet. In the poem, the metric feet successfully vary in accordance with the subject consideration.
In order to understand the verse, it is necessary to bracket the first and third stanzas. Hence, the slant rhymes easy and dizzy in the first stanza can be considered as feminine endings whereas knuckle and buckle in the third stanza represents masculine endings, particularly father’s waltzing. Although these lines are not limping iambs, they still create a similar meaning. The second stanza, the second line, represents he metrical touch in the form of trochaic foot: “Slid from / the kit / chen shelf” Such form accurately emphasize the demolition of the pans (Roethke 769). Therefore, it is possible to conclude that waltz is not easy to dance. The second line’s trochee is repeated in the fourth line to emphasize mother’s countenance: “Could not/ unfrown / itself” (Roethke 769). Finally, the second metric foot is read an out spondee: “You beat time on my head with a palm/ caked hard / by dirt” (Roethke 769).
In general, the form and rhythm are closely connected with semantic feeling of the poem.
In conclusion, the poems presented for analysis have successfully disclosed the main theme, symbolism, and versification characteristics. In particular, the first poem called Road Not Taken has a multidimensional representation of the topic and, therefore, it impels the readers to provide a two-polar approach to characterizing the topic.
The second poem symbolic is largely represented through the use of metaphoric constructions and similes. Finally, the verse analysis of the final poem by Roethke reveals the impact of versification on semantic filling.
Frost, Robert. Acquainting with the Night. The Compact Bedford Introduction to. Literature: Reading, Thinking, Writing. US:Bedford/St. Martin’s, 2002 p.
702 Frost, Robert. Road not Taken The Compact Bedford Introduction to Literature: Reading, Thinking, Writing. US:Bedford/St. Martin’s, 2002, pp.
880-881 Roethke, Theodore. My Papa’s WaltzThe Compact Bedford Introduction to Literature: Reading, Thinking, Writing. US:Bedford/St. Martin’s, 2002. p. 769