Month: January 2024

Introduction: “The Ruined Cottage”

In his poem, “The Excursion,” Wordsworth touches upon the potential consequences of seasonal weather and the departure of a rural family patriarch who joins the army in “The Ruined Cottage.” In “The Ruined Cottage,” an old man tells the speaker how aggrieved he is about the tragic extinction of an entire family and shares the heart-rending story of Margaret. The narrative reveals that the husband leaves his wife and two kids in a hilly rural area to go to battle, dressed in a soldier’s uniform, and he never returns. The wife works hard to raise her kids, waiting for her husband. The elder child succumbs to a fatal disease, and the younger one dies due to hunger and the mother’s grief. Becoming merely a skeleton does not matter to her as she continues waiting for her husband, despite her constant inquiries from travelers. Beneath the surface of this simple story and the departure of the male figure lies the grim reality of natural weather changes and war, which transform the close-to-nature rural areas of the poor, leaving them at the mercy of the elements with only hope to help them survive.

Nature and “The Ruined Cottage”

As a nature enthusiast, Wordsworth explores the impact of both seasonal changes and wars on rustic folk, initially by observing an old man with his “pack of rustic merchandise” in the countryside and later by deducing the means of livelihood for Margaret and her husband through the old man’s story (Wordsworth). The old man informs Wordsworth that Margaret’s husband is an “industrious man” with a “loom” at home, consistently engaged in his “daily work till the day-light” (Wordsworth). Despite the husband’s strong work ethic, the poem depicts a rural economy devastated by “Two blighting seasons” and “the plague of war” (Wordsworth).

While there is no suggestion of the encroachment of modern industry, the old man’s narrative vividly illustrates the workings of the rural economy, relying on the patriarch’s hard work and feminine love and obedience. After suffering from a fever, the husband loses his strength, depletes his savings, and ultimately joins the army as a mercenary. His failure to return results in the long-term absence of patriarchal safety and security, leading to the loss of Margaret’s household and, ultimately, her life. This story also underscores the vulnerability of rural people living close to nature, highlighting how they are at the mercy of natural forces.

Lessons from “The Ruined Cottage”

In this rural setting abundant with natural scenes, Wordsworth imparts crucial lessons for those living close to nature. Firstly, he portrays the challenging and arduous nature of life, capable of crippling a family when the breadwinner loses his strength, as seen in the case of Margaret and her family. Secondly, the poet highlights the hardships faced by women in a close-to-nature life, particularly when their well-being is contingent on men. Margaret, left alone in the absence of her husband, finds it exceedingly difficult to sustain herself and her children. Growing crops and providing for her kids becomes a formidable task in a situation where she has nothing to rely on except for a “purse of gold,” which her husband sends only once (Wordsworth). With no further communication from him and his departure to a “distant land” (Wordsworth), the theme of feminine dependence in a rural, patriarchal setup is intricately woven throughout the old man’s narrative. The only thread keeping her alive for an extended period is the hope for her husband’s return.

Hope and “The Ruined Cottage”

Indeed, hope emerges as a potent tool for survival, as exemplified in the old man’s revelation to Wordsworth that “words of hope from her mouth” bring happiness and cheer to both of them. It appears to be the cornerstone that keeps rustic folk optimistic about life. Despite knowing from others that her husband has ventured to a distant land, Margaret sustains her hope that he will eventually return, driven by thoughts of their children. However, as the old man makes his final visit to Margaret, he discerns that she no longer believes in his “best hope” for her husband’s return (Wordsworth). This signifies a loss of hope, and ultimately, this absence of optimism becomes a contributing factor to her demise.

Conclusion: “The Ruined Cottage”

Wordsworth eloquently narrates the tragic tale of rustic folk, whose meager earnings often sustain them for a single season, making them vulnerable to the whims of nature. If nature turns against them, the loss of livelihood becomes a precursor to the loss of life. The tragedy is compounded by the complete extinction of an entire family, leaving only dilapidated walls as remnants. These remnants serve as poignant reminders to the present generation that those who choose to live in close proximity to nature are subject to its mercy and may face dire consequences if their hopes for survival falter.

However, within the lives of such individuals lies wisdom and genuine humanity, even amidst prevalent poverty. The poet discovers “That secret spirit of humanity” not only within the people, as exemplified by the old man, but also in the very atmosphere, revealing itself through every natural manifestation (Wordsworth). This highlights the resilience and innate human qualities found in those living close to nature, even in the face of adversity and hardship.

“The Ruined Cottage”: Works Cited

Wordsworth, William. “The Excursion: Book-1, The Ruined Cottage.” Genius. n. d. https://genius.com/William-wordsworth-the-excursion-book-i-the-ruined-cottage-annotated./ Accessed 16 Mar 2018.

Relevant Questions: “The Ruined Cottage”

1. How does Wordsworth’s “The Ruined Cottage” explore the theme of nature and its transformative power in the context of the ruined cottage, and what insights does this provide into the human experience?
2. In “The Ruined Cottage,” how does Wordsworth employ poetic language and imagery to evoke a sense of nostalgia and reflection on the passage of time, particularly in relation to the ruined cottage and its inhabitants?
3. What role does the ruined cottage play as a symbol in Wordsworth’s poem, and how does its depiction contribute to the overall message or theme of the poem?

Introduction: “The Road Not Taken”

Every human, at some point in life, encounters a moment where they have to opt for only one of two equally good choices, as depicted in “The Road Not Taken.” During such a phase, when decision-making becomes confusing, the search for preferring one choice over another is navigated by setting priorities for each choice in terms of how it will impact the individual in their career and life. In his analysis of “The Road Not Taken” by Robert Frost, the focus is on decision-making in life. Frost has universalized his personal experience, presenting two equally good options and the dilemma of indecision, an act that profoundly influences our lives.

Start of “The Road Not Taken”

Robert Frost begins the poem with the line, “Two roads diverged in a yellow wood” (The Road Not Taken 1), illustrating his dilemma of having two options to choose from. However, in the very next line, he expresses regret, stating, “And sorry I could not travel both” (2), acknowledging the impossibility of exploring both paths simultaneously. His realization that he can only “be one traveler” (3) underscores the crucial nature of his decision. Frost remains uncertain about which “road” (1) or choice will lead him to his desired destination. Only with the passage of time can he determine which path proves more beneficial. When Frost emphasizes that “two roads diverge in a yellow wood” (1), he conveys the crisis of decision-making, as he grapples with uncertainty about which path to choose. Despite both roads seeming promising, Frost faces a challenge in making the right decision.

As he reflects on looking down one road, he describes encountering “undergrowth” as a metaphor for his confusion, stating, “To where it bent in the undergrowth” (5). Beyond this undergrowth, he cannot see what lies ahead. The future becomes an uncertain prospect, and Frost grapples with the ambiguity of what each road holds for him.

Choice in “The Road Not Taken”

Regardless of the choice we make, careful consideration follows, contemplating how it will shape our future. Frost’s decision was not arbitrary; he had the full freedom to choose either path. However, he had to observe and rationalize, as he later explained, “Because it was grassy and wanted wear” (8), a justification he would share with his friends. Frost acknowledges the irreversibility of his choice, expressing doubt about ever returning: “I doubted if I should ever come back.” This decision-making process is paramount in his journey. Frost also believes that the chosen road is “grassy and wants wear” (9), suggesting that fewer people have traveled it, leaving the vegetation undisturbed. He implies that the less-traveled path, though unfamiliar and potentially hazardous, holds promise during the journey. Upon closer inspection, however, Frost realizes that both paths may have been equally used and offer similar prospects. Despite this realization, he has already made a decision, stating, “Then took the other” (5), and he asserts that the second path is “just as fair” (5) as the first.

Dilemma of Choices in “The Road Not Taken”

After deep and prolonged contemplation of the choices laid before him, the poet decides to make a distinction by selecting the path, stating, “I took the one less traveled by” (19). This decision is reiterated when he mentions earlier, “Then took the other” (5), providing a reason for his choice. The central question revolves around why he faces this dilemma. The profound dilemma in decision-making arises from the realization that both paths can be perceived as identical: “And both that morning equally lay / In leaves no step had trodden black” (11-12). Many of us encounter such situations where we must choose the best option from those presented, and when both seem equally favorable, we grapple with creating criteria for decision-making, as Frost experiences – a struggle between choosing and indecisiveness. Importantly, such opportunities are often once-in-a-lifetime, and the decisions made become permanent and life-changing events. We, like Frost, understand that we cannot reserve one option for another time, and the choices we make shape our future. The poet’s acknowledgment, “I doubted if I should ever come back” (15), reflects the awareness that the consequences of our decisions are irreversible. Regardless of where we go or what we do, our choices and decisions manifest in various consequences, and by the time we comprehend them, it may be too late to revisit the past and start anew. The irony lies in our full awareness of this reality, akin to the poet’s doubt about returning.

Readers and “The Road Not Taken”

Frost vividly describes a common situation in which readers can easily identify, placing themselves in similar shoes as they navigate the poem. The aftermath of such decisions often leaves one contemplating and “sighing” (16) as they reflect on the choices made. It seems plausible that Frost, at some point in his life, encountered such a scenario, facing the challenge of choosing between two equally appealing options. He is intimately acquainted with the feelings of remorse and guilt associated with making wrong decisions, as expressed in the lines, “I shall be telling this with a sigh / Somewhere ages and ages hence” (16-17), highlighting the enduring impact of choices made over time. Frost’s personal experience of keeping one option for another day, as mentioned in “I kept the first for another day” (13), did not necessarily prove effective. Opting for the “less traveled by” path (19) marked a pivotal moment in his life, determining his ultimate success or failure. This choice, made years ago, played a crucial role in shaping who he is today. The poem implies that many of us will inevitably find ourselves in a similar scenario in the future, where the consequences of our decisions return, and we must face them alone. The ability to demonstrate whether we made the right choices becomes essential, as we confront the outcomes of our decisions and the impact they have on our lives.

Conclusion “The Road Not Taken”

The poet’s argument revolves around the depiction of encountering two roads, each presenting equally compelling choices, putting him in a dilemma that scrutinized his decision-making abilities. Opting for the less-traveled path, he exercises self-reliance. However, in doing so, he also articulates a universal human predicament – the challenge of choosing between options, of selecting one and keeping the other in reserve, fully aware that both cannot be chosen simultaneously. This dilemma, as expressed by the poet, is a shared experience for humanity. The pivotal choice made, taking the road less traveled, is emphasized as making all the difference in life. This decision, a manifestation of individuality and self-determination, sets a course that shapes the poet’s journey. As individuals age, they inevitably find themselves revisiting the consequences of past decisions. The poet suggests that the remembrance of the choices made in youth becomes significant in later years, as individuals reflect on the impact of those decisions. In essence, the poem encapsulates the universal theme of choice and consequence, portraying how a seemingly small decision can have profound implications on the course of one’s life.

Works Cited: “The Road Not Taken”: Choice

Frost, Robert. Mountain Interval. MobileReference.com, 2009.

Relevant Questions: “The Road Not Taken”: Choice

1. How does Robert Frost’s “The Road Not Taken” explore the theme of individual choice and its impact on the course of one’s life?
2. In what ways does the poem highlight the tension between individualism and the universal human experience of decision-making, as depicted in the selection of one path over another?
3. What significance does the metaphor of the diverging roads hold in “The Road Not Taken,” and how does it contribute to the broader exploration of personal decisions and their lasting consequences?

Introduction: Second Duchess in “My Last Duchess”

The second duchess in “My Last Duchess” by Robert Browning is supposed to be the duke’s wife who is negotiating the arrival of his next duchess with her emissary. Although not much is clear about the painters Robert Browning has named, one thing is certain: the setting of the poem is Ferrara, Italy, in the year 1564 or around. The duke is Alfonso II, according to some researchers, while the victim is Lucrezia de Medici, who is said to have died in mysterious circumstances. The poem explains in the first-person voice how the Duke is negotiating his second marriage with Barbara of Austria, mentioned in the poem as having met her in Innsbruck. Although it seems from the first reading in the initial lines that the speaker, the Duke, is an aesthete and connoisseur of the arts, as he praises the painting too much with the negotiator of Barbara of Austria (Ryals 1983, 152-155), his tone becomes highly ironic and sarcastic when he starts informing him about her little courtesies, which according to him, were tainting his “nine-hundred-years old name” (Browning 33). The Duke further tells him that he could not brook it any longer to let her smile at everybody. Therefore, he orders her execution but tells it ironically and indirectly, “This grew; I gave commands, / Then all smiles stopped together” (45-46). His reminisce ends with his assertion that his order is not just a pretense. Then he takes him to see the statue, Neptune. The poem effectively conveys its theme through the use of dramatic monologue, poetic structure, and the historical account of the cruel treatment and dictatorial attitude of the duke.

Dramatic Monologue in “My Last Duchess”

“My Last Duchess” is written as a dramatic monologue, a form where a single speaker addresses an audience as if engaged in a conversation. In this case, the Duke speaks alone throughout the poem, with the interlocutor being the emissary of the Duchess’s father who has come to negotiate with the Duke. Despite the emissary’s near silence, the poem unfolds as an extended speech by the Duke, incorporating elements characteristic of a formal address or speech, including the use of punctuation, sentence structure, rhetorical questions, and implicit assertions. The poem’s opening, starting with a demonstrative pronoun followed by a personal pronoun, is indicative of a speech. Punctuation is used sparingly to create the impression that the Duke is engaged in a regular conversation, with commas breaking sentences in the fourth and sixth lines. The poem also employs parentheses, as seen in the ninth and tenth lines, and ellipsis in lines 22 and 32. The use of hyphens, such as in “nine-hundred-years-old,” and dashes in lines 36, 42, and elsewhere, contribute to the conversational flow. Browning also uses conventions like quotations and exclamation marks to convey the speaker’s demonstration of feelings and the presence of another person. Rhetorical questions like “Will’t please you rise?” and “This sort of trifling” (22-35 & 47) emphasize the Duke’s authority and power, showcasing how he navigates the conversation. Beyond these conventions, the tone of the speaker aligns with the language, effectively conveying his feelings, emotions, and status through carefully chosen words and the overall poetic structure.

Musicality and Second Duchess in “My Last Duchess”

Written in dramatic monologue, “My Last Duchess” adheres to an iambic pentameter structure, with each line containing five iambs, as seen in the first line, “That is my last duchess painted on the wall” (1). This meter, often used by Shakespeare in his plays, conveys a sense of grandiosity, indicating the serious theme explored by Robert Browning in the poem. Additionally, Browning employs a heroic couplet, where rhyming words conclude each line, as evident in the first two lines and throughout the poem, as seen in the lines “That piece a wonder, now: Fra Pandolf’s hands / Worked busily a day, and there she stands” (3-4). The use of this couplet contributes to the poem’s formal and structured tone. Given its nature as a dramatic monologue, the poem features interruptions in the conversation, marked by breaks or enjambments. This technique allows Browning to create a seamless flow in the narrative, as seen in lines like, “How such a glance came there; so, not the first, / Are you to turn and ask me thus. Sir, t’was not” (12-13). The use of enjambment ensures a smooth reading experience without disrupting the rhyming words, showcasing the poet’s skill in crafting a dramatic monologue.

Poetic Structure and Second Duchess in “My Last Duchess”

The combination of the poetic structure and historical context in “My Last Duchess” accentuates the prominence of its themes. The use of a dramatic monologue, coupled with a first-person perspective, showcases the speaker’s arrogant and haughty attitude, evident in lines like “I call / That piece a wonder,” and “The curtain I have drawn for you,” and “how shall I say?” (1-5 & 22). The narrative also highlights the Duke’s wealth and elevated social status, providing insight into why he considers women as mere objects and narrates stories of their murders in such a disdainful tone. The Duke’s decision to kill the Duchess stems from her displaying a courteous smile to everyone, an act that he finds disagreeable. Browning employs pointed sentences full of sarcasm to convey the Duke’s displeasure, emphasizing how this seemingly innocent smile is perceived as tarnishing their “nine-hundred-years-old name,” alluding to the Duke’s pride and status (33). The use of dramatic irony is particularly evident in the last line, where the Duke emphasizes the known munificence of the Count, the Duchess’s father, suggesting that there is no justifiable reason for her mistreatment (48-49 & 50). The poetic structure, characterized by the dramatic monologue, supports the effective rendering of these themes, allowing readers to delve into the complexities of the Duke’s character and his skewed perspective on power, status, and relationships.

Conclusion: Second Duchess in “My Last Duchess”

In “My Last Duchess,” Robert Browning skillfully employs the dramatic monologue to reveal the inner workings of a character marked by pride, haughtiness, and arrogance, particularly concerning his family name and wealth. The Duke’s personality is effectively portrayed through conversational strategies and literary devices. While Browning incorporates some allusions to enhance the theme, the primary role in depicting the themes is played by the dramatic monologue. Additionally, the poet adeptly employs necessary conventions for a genuine conversation, making it easy for readers to grasp the character’s engagement in negotiating a deal and asserting his sense of self to the emissary.

Second Duchess in “My Last Duchess”: Works Cited

1. Browning, Robert. “My Last Duchess.” Reading and Writing about Literature. Ed. Janet E. Gardener. New York. Bedford / St. Martin’s. 60. Print.
2. Ryals, Clyde de L. Becoming Browning: The Poems and Plays of Robert Browning, 1833-1846. Ohio. Ohio State University Press. 1983.152-155. Print.

Relevant Questions Selection about “My Last Duchess”

1. Motivation Behind the Selection: What motivates the Duke’s decision to choose a second duchess, particularly after the demise of the first? How does his motivation reflect his values, desires, or societal expectations?
2. Characteristics Sought in the Second Duchess: What specific qualities or characteristics is the Duke seeking in the second duchess? How do these preferences contribute to the themes of power, control, and the objectification of women within the context of the poem?
3. Narrative Implications: How does the Duke’s account of the second duchess shed light on his perceptions of women and relationships? What narrative implications can be drawn from the way he describes the selection process and the expectations he places on the new duchess?

Introduction: “The Road Not Taken” and “Stopping by Woods”

Wavering, hesitation, reluctance; these words immediately comes to mind when we call to make a choice in life when reading “The Road Not Taken” and “Stopping by Woods” by Frost. Everybody has some options at every point of his life and he is to make a choice based on the rational decision after long or short deliberations. This choice made reviewing the topical situation takes a person on the road to ideal solution of the issue at hand. However, sometimes the same choice lead to highly tough situation where both of the choices or all other available choices seem equally good or equally bad and person has to choose one or the other based on his rational judgment. Poetry is fraught with the theme of such choices made by “The Road Not Taken” and “Stopping by Woods on a Snowy Evening” by Robert Frost have demonstrated how the action of making a choice and selection an option weighs heavily upon a person’s mind. The first one is about when the life time decision is made and second is perhaps when the poet has had some liking for natural but he was also under moral obligations. Whatever the case is both the poems “The Road Not Taken” as well as “Stopping by Woods” shows the same thing as to what choices are there, nature of decisions to select one and limits on the decision to make ideal solutions.

Choices in “The Road Not Taken” and “Stopping by Woods”

In “The Road Not Taken” frost immediately discloses his choice “Two roads diverged in yellow wood, / And sorry I could not take travel both” (The Road Not Taken 1-2) which is also an expression of remorse that both seems equally good but he cannot take both at the same time. He is to leave one and chose the other and when one is left, there is no way he can come to it later in life. This is where the youth comes and it is perhaps his choice of career as a poet that he has made. In fact, Frost calls attention only to the role of human choice. A second target was the notion that “whatever choice we make, we make at our peril” (Montiero, On “The Road Not Take”). However, he also seems to be hell bent on keeping the other “I kept the first for another day” (12) which shows that he does not want to leave the first and has some thinking in his mind that he might turn back and take it but it is not possible as he is doubtful of his return in the future. However, he is satisfied that the type of choices he has, he has made the second one “I took the one less travelled by” (19) that no other person have taken. Similarly, in “Stopping by Woods on a Snowing Evening” he has same two types of choices either to watch the woods and enjoy the nature at this hour of the evening or leave it as he is forced to leave. He is lured by the beauty “The woods are lovely, dark and deep” (13) and he has almost there to enjoy it. However, the issue is that he has to go to perform his mundane responsibilities. He hesitates and “It is an [this] internal will and force that keeps the speaker unsettled in the few moments that he stops to watch the woods fill up with snow” (Pederson). Even his little horse in is wavering whether to stop and see or leave and finaly the poet is weighed down by the other choice that is “But I have promises to keep” (14) that is demands more urgency on the part of the poet.

Nature of Decisions in “The Road Not Taken” and “Stopping by Woods”

The decision in both the cases depend on paragmtic nature. In “The Road Not Taken” the decision depends on whether it would prove fruitful for futrue and that he would make some gains for it is “I took the one less travelled by” (The Road Not Taken 19) which means that in career choice he has made the decision not made but all and sundary “And that has made all the differnce” (20) showing where the poet stands now as it is the result of the same decision that he has made. The decision was hard and tough but the problem is that he has to made in in any way which is very much clear from the first stanza that “And I looked one as far as I could” (4) but ultimately he has to choose the one that is “less travelled by” (19). The decision, whether it is arbitrary or not, depends solely on him at this point. Same thing is in “Stopping by Woods on a Snowy Evening” where he comes to pass by a woods and he is fully aware that he can enjoy it as long as he could despite the fact that his little horse is also aware of his mental wavering. But he has two choices and his decision depends on rational thinking of that “But I have promises to keep” (Stopping by Woods 12) and there is along distance that he has to cover to keep his words. This is the obligation of mundane responsibilities that is weighing heavy upon him, ultimately forcing him to abandon the first choice and keep the second to leave for promises. The situation is the same whether he is to “go forward to the touch,” or will he “stand still in wonderment and let him pass by” in the anecdote” (Montiero).

Limits in “The Road Not Taken” and “Stopping by Woods”

The point of limitation is not so easy to decide as in “The Road Not Taken” he is limited by his choice that both roads are the same and “both that morning equally lay” (The Road Not Taken 11) where he is to think about the one not have been trodden as much as the other one, but the issue is both are almost the same. This takes carefull and deliberate thinking in the face of only two equal choices and finally he, depending on his own decision, made the ideal choice of “I took the one less travelled by” (19) which was to last long for him and set his career path. Similarly, in “Stopping by Woods on a Snowy Evening” he has not only two choices, but also the worldly limitation of covering a long distance before he has to reach home and fulfill his promises, for he knows mundane obligations are urgent that mere enjoyment of nature “And miles to go before I sleep” (Stopping by Woods 16) is another choice before him. The repetition of this sentence is a reminder of the limit that he has to see before leaving.

Conclusion: “The Road Not Taken” and “Stopping by Woods”

Summing up the debate, it is clear that both the poems have presented the speaker two choices, the hard deliberation in making the final decision and limitations before making the ideal solution and that is that the speaker has to be pragmatic in his choice. First the choice of road is the choice of career that everybody is to make in life and second the choice to enjoy nature and keep mundane promises also puts the same burden on mind to make a choice. Therefore, the weight of choice in both the poems is equally difficult not only involving types of choice, but also the situation in which the decision is to be made and finally to choose the decision to go for ideal solution.

Works Cited: “The Road Not Taken” and “Stopping by Woods”

1. Frost, Robert. Robert Frost’s Poems. Edited by Louis Untermeyer, Washington Square Press, 1968.
2. Montiero, George. “On ‘Stopping by Woods on a Snowy Evening’.” 2003. 07 December 2013 http://www.english.illinois.edu/maps/poets/a_f/frost/woods.htm.
3. Montiero, George. “On ‘The Road Not Taken’.” 2003. 27 December 2013 http://www.english.illinois.edu/maps/poets/a_f/frost/road.htm.
4. Pederson, Steve. “‘Stopping by Woods on a Snowy Evening’: A Burkean/Ecocritical Reading.” n.d. 07 December 2013 http://rhetoric.sdsu.edu/lore/6_1/6.5_pederson.pdf.

Three Relevant Questions: “The Road Not Taken” and “Stopping by Woods”

1. How does Robert Frost use nature and the imagery of woods in both “The Road Not Taken” and “Stopping by Woods on a Snowy Evening” to convey deeper meanings and themes in the poems?
2. In “The Road Not Taken,” the speaker reflects on a choice that has made all the difference in their life, while in “Stopping by Woods on a Snowy Evening,” the speaker contemplates the beauty of nature. Compare and contrast the themes of individual choice and the appreciation of nature in these two poems.
3. Analyze the tone and mood in both “The Road Not Taken” and “Stopping by Woods on a Snowy Evening.” How does Frost use language and poetic devices to evoke specific emotions in each poem, and what impact does this have on the reader’s interpretation of the works?

Introduction: “Stopping by Woods on Snowy Evening”

Every person faces a dual conflict in life, much like Frost’s poem “Stopping by Woods on a Snowy Evening.” On one hand, there are the allurements of pleasures, luxuries, and the enjoyments of life, while on the other hand, there is the burden of mundane responsibilities to bear. This dual conflict ensures that a person is mindful of their obligations, such as caring for home, family, and children. In the poem, Frost captures the universal struggle between the enticements of the world, full of luxuries, pleasures, and the beauty of nature, and the weight of daily responsibilities. There are numerous opportunities that might lead one to engage in actions not considered moral, yet seem “lovely, dark and deep” (Stopping by Woods 13). However, the sense of the burden of mundane responsibilities acts as a restraint, preventing excessive indulgence. Frost himself grapples with this dual conflict, contemplating whether to linger in the enchanting beauty of nature or move forward to fulfill his “promises” (14) in his poem “Stopping by Woods on a Snowy Evening.”

Pleasure in “Stopping by Woods on Snowy Evening”

The pleasures of nature unfold as the poet traverses through the woods, particularly on “the darkest evening of the year” (8), signifying December 21, the longest night. Commencing with the inquiry “Whose woods are these I think I know” (1), the poet suggests that he is alone, engaged in a soliloquy, perhaps acquainted with the owner of the woods and possibly on good terms with them. Being alone, he can enjoy the surroundings freely, as the owner would not witness him “stopping” (2) to inquire about his presence in the forest at this late hour.

Since such solitary moments in nature are infrequent for the poet, it becomes an unusual experience for his little horse as well. The horse, accustomed to traveling only when there is a farmhouse nearby, finds it peculiar to “stop without a farmhouse near” (6), especially at night. Similar to the poet’s awareness of this departure from his routine, the horse also senses that his owner has never stopped in such a place at this hour. The setting, described as “lovely, dark and deep” (12), with an “easy wind and downy flake” (11), entices both the poet and his horse to savor the atmosphere.

In this introspective moment, the little horse “gives his harness bells a shake” (9), questioning if his master has made an error in deviating from their usual routine. However, it becomes evident that the poet’s intention is to appreciate the beauty of the woods, acknowledging that they are “lovely, dark and deep” (13), and he desires to fully immerse himself in this enchanting experience.

Frost’s depiction reveals a conflict within the human mind, including Frost’s own, as it grapples with the attraction to what is lovely and the simultaneous struggle to resist its allure. The forest, often associated with isolation and potential evil in biblical contexts, creates a sinister yet captivating atmosphere. This conflict is a recurring theme as individuals navigate the juxtaposition of attraction and the self-discipline needed to resist it.

Conflict in Pleasure in “Stopping by Woods on Snowy Evening”

On the other side of the conflict in “Pleasure in Stopping by Woods on Snowy Evening” lies the burden of responsibilities that an individual carries. Two crucial character traits of a responsible person are highlighted: one’s commitment to their words and the extent to which they go to fulfill promises. A responsible individual rests only when they have met their moral obligation of keeping their word and doing everything within their capacity to honor their commitments. Frost exemplifies these traits, declaring, “But I have promises to keep” (14), emphasizing his awareness that, despite the allure of the “lovely, dark and deep” woods (13), he is bound by promises he cannot disregard.

The second character trait involves recognizing the obligation to travel “miles to go” (15) in order to uphold one’s promises. This moral responsibility takes precedence over the alluring beauty of nature, and Frost reinforces this commitment by reminding himself twice that he has “miles to go” (15) before he can rest. The conflict in Frost’s mind tilts in favor of his mundane responsibilities, despite the captivating attractions and enticements of nature represented by the solitude in the “lovely, dark and deep” woods (13). Frost redirects his attention, acknowledging the more significant tasks in his life.

The shaking of the harness bells by his horse serves as a symbolic gesture, indicating the animal’s loyalty and reminding Frost of his responsibility. This subtle interaction underscores the internal conflict Frost experiences as he navigates between the enchantment of nature and the steadfast commitment to his duties and promises.

Conclusion: Pleasure in “Stopping by Woods on Snowy Evening”

In short, mundane responsibilities carry a profound commitment that must be honored for one to navigate life successfully. The poet, a dedicated individual, doesn’t indulge in the allure of the dark and enchanting forest. Upon stopping, he swiftly realizes the crucial tasks awaiting him at home and the promises he must fulfill. Despite the tempting beauty of the woods and his knowledge of the owner whose “house is in the village though” (2), his responsibility as a committed person takes precedence. Responding to the unspoken call of his horse and the resounding call of his conscience, he chooses to leave, emphasizing both his commitment and responsibility. The poem, beginning with a curious inquiry in “I think I know” (1), concludes by affirming that he indeed knows what he must accomplish before he can “sleep” (16). This juxtaposition of inquiry and affirmation enhances the poem’s beauty, portraying the poet’s journey from uncertainty to a clear sense of purpose and responsibility.

 Works Cited: “Stopping by Woods on Snowy Evening”

Frost, Robert. “Stopping by Woods on a Snowy Evening.” 1951. Poetry Foundation, 19 June 2013, http://www.poetryfoundation.org/poem/171621.

Three Relevant Questions: “Stopping by Woods on Snowy Evening”

1. In “Stopping by Woods on Snowy Evening,” how does the poet navigate the dual conflict between the enchanting allure of nature’s beauty and the weight of mundane responsibilities, and what choices does he make during his journey through the woods?
2. How does Robert Frost employ the setting and the character of the poet’s horse in “Stopping by Woods on Snowy Evening” to convey the tension between the captivating scene of nature’s beauty and the responsibilities that weigh on the traveler?
3. Within the context of “Stopping by Woods on Snowy Evening,” what symbolic significance do the woods hold, and how does the poet reconcile the conflict between the captivating allure of the scene and his sense of duty and obligation?

Introduction: “All I Really Want to Do”

The song titled “All I Really Want to Do” is a love and pop song written by the famous writer and singer, Bob Dylan. Although it differed from his traditional songs, when it was released on the album “Another Side of Bob Dylan,” it proved to be a tremendous success for the album. Not only did it endear itself to the audience, but it also resonated with the pop and rock audience. The song, along with its poetry and music, differs from what Bob Dylan was accustomed to singing. Written in 1964 and performed in the same year, “All I Really Want to Do” depicted not only a different type of love but also a distinct character of a lover.

Lyrics of “All I Really Want to Do”

The song’s lyrics consist of six stanzas, each comprising six lines. Bob Dylan skillfully plays with words in the song. The first stanza hints that all he desires is to be friends with his sweetheart, emphasizing that he does not seek to possess her. It opens with the famous line, “I ain’t lookin’ to compete with you” (1-7), a theme echoed in subsequent stanzas.

The essence of the lyrics is that he does not want to compete, cheat, mistreat, snatch rights, or engage in possessive behavior. His sole intention is to be her friend. This sentiment is reiterated in the second and third stanzas, where he emphasizes his desire to avoid violence, resist making her an object of beauty or a showpiece, and simply be her friend. He rejects the typical lover’s approach of pursuing, confining, defining, studying, or planning his entire life around her. Instead, he wants an authentic friendship and rejects the insincerity of fake offers.

In literal terms, the poet sits with his sweetheart, expressing his difference from other lovers who pursue a girl merely to become her husband and assert ownership over her beauty. He distances himself from traditional masculine behaviors, asserting that his only desire is friendship. Unlike those who marry to showcase their wives as property, mold them to their liking, and exhibit possession, his intention is genuine friendship and nothing else.

Subject of “All I Really Want to Do”

The lyrics convey the song as the lament of a broken heart, with the context that Bob Dylan wrote it shortly after parting ways with his sweetheart. Consequently, the bitterness he experienced during this period permeates the lines. Repetition is a notable feature, where the same theme recurs throughout each stanza. In the first stanza, the cluster of words like “compete, beat, cheat, mistreat, then simplify, deny, and crucify” emphasizes a common theme (1-5), and this pattern continues through the final line of each stanza.

These repetitive phrases illustrate the typical ways in which men are expected to treat their sweethearts or wives, reflecting a conventional narrative. However, the poet distinguishes himself by rejecting this conventional approach and expressing his desire to maintain a friendship with his sweetheart. The closing lines, “All I want to do / Is, baby, be friends with you,” articulate the poet’s true intentions, emphasizing that he seeks nothing more (12-13).

The lyrics fluctuate between being straightforward and occasionally mischievous and humorous. For instance, when he states, “I don’t want to fake you out,” it conveys a sense of seriousness and sincerity from the writer. The lyrics, therefore, reveal a complexity that combines both heartfelt emotions and a touch of playfulness.

Music of “All I Really Want to Do”

The song features a compelling musical structure with a time signature of 12/8, representing four groups of three quavers in a bar. Musicians can follow a beat in fours, emphasizing the first quaver in each bar, creating a rhythmic pattern of 123 123 123 123 from start to finish.

This unconventional 12/8 beat is a distinctive element of the song, contributing to its popularity. Bob Dylan’s choice to use this rhythmic structure sets the song apart from more common musical patterns. The lilting feeling of 123 123 123 123 is maintained throughout the entire composition, creating a unique and memorable musical experience.

Examining specific verses, the division of beats is evident, as seen in lines like “I don’t/ want to fake/ you out/” and “Take or/ shake or/ forsake/ you out.” The song’s success can be attributed, in part, to this distinctive 12/8 beat, which complements the serious yet occasionally humorous message conveyed by the lyrics.

Conclusion: “All I Really Want to Do”

In essence, “All I Really Want to Do” stands out as one of the most popular songs of its time, breaking away from traditional songwriting and singing conventions. Bob Dylan uses this song as a platform to express his feelings after separating from his sweetheart, presenting an unconventional plea for friendship instead of a traditional romantic relationship. The song represents a declaration of freedom from the confines of traditional marital expectations, challenging the notion of a wife sacrificing her life for her husband’s love. Dylan’s unique approach, emphasizing the desire for friendship over romantic entanglements, has resonated with audiences, making the song a beloved and enduring piece in pop and rock music history.

Works Cited: “All I Really Want to Do”

Dylan, Bob. “Bob Dylan Songs.” Bob Dylan. N. d. Web. 25 Feb. 2023.

Three Relevant Questions: “All I Really Want to Do”

1. “All I Really Want to Do”: How does Bob Dylan use the lyrics of this song to convey his perspective on love and relationships, and what insights can be gained from the contrast between what he wants to do and societal expectations?
2. “All I Really Want to Do”: In what ways does the song reflect the cultural and social context of the 1960s, and how does Dylan’s lyrical expression contribute to the broader countercultural movements of that era?
3. “All I Really Want to Do”: How does the music and poetic language in this song contribute to the overall emotional impact, and what themes or messages does Dylan communicate about personal freedom and authenticity through his lyrics?