Everyone needs a sense of morals in life. These morals can be learned from family members, past experiences or even nature. Robert Frost takes imagery, emotion, symbolism, and he often uses nature in his poetry to not only paint a picture in the reader’s mind, but also to create a moral of each work.
Biography of Robert Frost
Robert Frost was born to an editor for a father, and a member of the Swedenborgian church. His father, William Frost, started as a teacher, and then became the editor of the San Francisco Evening Bulletin. Isabelle Moodie, his mother, baptized him with the Swedenborgian church. Later on in Frost’s life, he left this church. Frost was born in San Francisco (“Biography of Robert Frost”, poemhunter.com). In 1994, be published his first poem, “The Butterfly: An Elegy,” on November 8, 1894 at age 20. He published this work in the New York newspaper The Independent. Frost was a unique poet in the way that he stood in between the nineteenth-century poetry, and modern poetry. James M. Cox said that, “Though his career fully spans the modern period and though it is impossible to speak of him as anything other than a modern poet, it is difficult to place him in the main tradition of modern poetry,” (“Robert Frost”, poetryfoundation.org).
Bibliography of Robert Frost
Robert Frost’s works have been included in 36 books, plays, and other various works. Some of these works include A Boy’s Will (David Nutt, 1913), From Snow to Snow (Holt, 1936), “Hard not to be a King (House of Books, 1951), In the Clearing (Holt Rinehart and Winston, 1962), The Cow’s in The Corn: A One Act Irish Play in Rhyme (Slide Mountain Press, 1929), and Family Letters of Robert and Elinor Frost (State University of New York Press, 1972).
Explication of “The Road Not Taken.”
One of Robert Frost’s more famous poems, “The Road Not Taken,” has a strong use of imagery in it to create a meaning. Throughout the poem, most people would take the image only painted by the words. With analyzing the diction, you can see the moral truly come to the surface. “Two woods 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 into the undergrowth;” (“The Road Not Taken”, poetryfoundtaion.org) Using imagery, he begins the poem by setting a scene. By using the term “yellow wood,” you see that it is autumn, and the trees are beginning to yellow. You see a man, standing at a fork in the road. He is also down that he cannot take both options, and be “one traveler” through both the roads. The first stanza of this poem is mainly just to give the reader to visual of what he is saying. Although, in the last line, “…where it bent into the undergrowth,” you see a trail that is maybe dark, and not many people have traveled it, for there is “undergrowth.” The meaning starts to take place, he is trying hard to predict what is at the end of this road he looks down, but he cannot predict the...