Tag: short essays

“A Modest Proposal”: Questions

“A Modest Proposal” by Jonathan Swift is a satirical essay written in 1729 that suggests a shocking solution to address the problem of overpopulation and poverty in Ireland. Swift proposes that poor families sell their infants to the wealthy as a source of income and sustenance. The essay employs irony and dark humor to criticize the British government’s exploitation of the Irish people and highlight the dehumanizing effects of economic policies. Swift’s proposal is an exaggerated critique of the callous attitudes towards the impoverished, challenging readers to reflect on the social and political issues of his time. Despite its seemingly outrageous premise, the essay serves as a powerful indictment of the prevailing socio-economic conditions in Ireland during the 18th century.

The Facts in “A Modest Proposal”

1. Premise and Satirical Assumption:
   • Built on the premise that Ireland is filled with impoverished beggars and their numerous children.
   • Suggests that consuming these children as dishes would alleviate the economic burden, fostering population control.
   • Assumes readers would find the idea reprehensible, serving as a satirical commentary.
2. Irony and Exploitation:
   • Highlights irony in the fact that the parents, who exploit the poor, maintain their titles, ensuring their children inherit the roles of landlords and rulers.
   • The use of titles is a means of satire, as the children of the poor are presumed to be consumed, eliminating competition for titles.
3. Societal Disregard for Exploitation:
   • Describes a society that disregards open exploitation, where the poor are overworked, leaving little for their begging children.
   • Illustrates the societal indifference towards the plight of the impoverished.
4. Religious and Sectarian Satire:
   • Notes the prevailing animosity between Catholics and Protestants during the time.
   • Satirizes the Protestants, particularly the landlords in the author’s parish, suggesting criticism against their actions.
5. Heartlessness and Modest Proposal:
   • Reflects on the heartlessness of the society, where the offer to consume children is presented as a “modest proposal.”
   • Suggests that making such an offer might be perceived as more acceptable than letting children die on the streets due to exploitation.

The Strategies: “A Modest Proposal”

1. Ironic Use of “Modest” in the Title:
   • The inclusion of the word “Modest” in the title introduces a layer of irony, as the proposed act of consuming dishes made from the flesh of children and wearing gloves crafted from their skin is anything but modest; it is an outrageous and horrifying suggestion, creating a powerful satirical effect.
2. Impact of Softening Language:
   • The use of softer language, such as “dishes” and “gloves,” serves to lessen the true gravity of the proposal to consume children’s flesh. This strategic choice in language aims to subtly dehumanize the subjects, prompting readers to perceive them as mere commodities akin to animals, possibly echoing the historical Irish consumption of pigs.
3. Depiction of Poor People and Cold-heartedness:
   • Describes the impoverished state of the Irish poor, framing them as a “saleable commodity” in economic terms. This economic lens satirically underscores the dehumanization of the poor.
   • Addresses the cold-heartedness of Protestants towards Catholics, emphasizing a reduction in the number of papists (Catholics). This suggestion arises in response to various proposals aimed at reducing beggars and poverty.
4. Tone of Seriousness and Satire:
   • Despite the seemingly serious tone, the overall effect is highly ironic and satirical. The concept of cooking and serving a child’s flesh as snacks is intentionally ironic and repulsive, adding a layer of cynicism to the narrative.
5. Purpose of Irony in Reaffirmation:
   • The author strategically uses irony to state that the proposal is made in the public interest rather than his personal interest. However, the tone employed in doing so reinforces the irony even more than the actual proposal, contributing to the overall satirical nature of the piece.

Works Cited: “A Modest Proposal”

Swift, Jonathan, and Leonard Baskin. A modest proposal. New York, NY: Grossman, 1969.

Relevant Questions about “A Modest Proposal”

1. Satirical Intent and Social Commentary:
   • How does Jonathan Swift employ satire in “A Modest Proposal” to comment on social, economic, or political issues of his time, and what specific aspects of society is he critiquing through this piece?
2. Audience Reaction and Literary Impact:
   • How did the contemporary audience respond to “A Modest Proposal,” and what impact did Swift aim to achieve with this piece? Additionally, how has the work been received and analyzed by literary scholars and critics over time?
3. Ethical and Moral Implications:
   • In “A Modest Proposal,” Swift presents a shocking and morally repugnant proposal. What is the author’s purpose in crafting such a disturbing narrative, and how does the use of this proposal contribute to the overall message or commentary within the work?

Introduction: “One Art”

The poem “One Art” by Elizabeth Bishop explores various themes, including transience, memories, the past, sadness, and love. It delves into the complex emotions associated with losing people and things, highlighting the pain caused by deception and lies. The speaker, who is the poet herself, imparts a lesson to the audience on the art of losing.

The title holds dual significance, suggesting both the art of losing and the art of writing. Throughout the poem, these two experiences are intricately linked. Initially, the poet adopts a dismissive and casual tone, which later evolves into an encouraging and didactic one, guiding the audience on how to confront failure, demise, or defeat.

The poem lacks a specific setting; instead, the poet invites readers into her mental landscape and past memories. The opening line boldly asserts the ease of mastering the art of losing: “The art of losing isn’t hard to master” (Line 1). This statement sets the tone for the exploration of the complexities associated with loss and serves as a foundation for the subsequent verses. Elizabeth Bishop skillfully weaves a narrative that encompasses various themes, employing a nuanced tone that transitions from casual to instructive. The absence of a defined setting enhances the universality of the poem, allowing readers to delve into the poet’s introspective journey on the inevitability and artistry of loss.

Everyday Life and “One Art”

Elizabeth Bishop conveys the idea that through the practice of accepting minor losses in our daily lives, such as misplacing “door keys,” individuals can acclimate themselves to cope with any form of loss. The speaker imparts valuable lessons to the audience on how to navigate these losses, emphasizing the forgetfulness of “places, and names,/to travel” (Lines 8-9), including the misplacement of a mother’s watch, houses, cities, and even continents, despite her sentimental attachment to them. Despite the myriad losses, the speaker remains resilient, experiencing no catastrophe, gradually adapting and forgetting.

In essence, the speaker strives to convey her mastery of the art of losing, emphasizing that each loss, no matter how significant, becomes manageable with time. However, the concluding stanza reveals a poignant revelation: the genuine loss that affects her deeply is the loss of a beloved person. Despite attempting to assert that this loss is not a disaster, she subtly acknowledges the emotional weight it carries. The speaker encourages readers with the assertion, “the art of losing’s not too hard to master/though it may look like (Write it!) like disaster” (Lines 17-18), highlighting the deceptive appearance of difficulty in mastering the art of losing, especially when it involves the loss of a cherished individual.

Opinion about “One Art”

In my perspective, Elizabeth Bishop’s poem stands out as an excellent poem due to its accessibility and enjoyable nature. The poet adopts a lighter mood throughout, employing language that is neither difficult nor laden with archaic or convoluted diction. The thematic undercurrent, seemingly downplayed by the poet, takes center stage as the poem unfolds.

The poem’s brilliance lies in its ability to interweave humor, prompting smiles from readers, while simultaneously conveying a profound moral lesson. The initial lighthearted tone subtly transforms, revealing a deeper exploration of the importance of not dwelling on the loss of trivial things. The overarching message becomes apparent: by learning to accept and move on from minor losses, individuals can fortify themselves to face more significant challenges with resilience and a positive outlook.

Ultimately, the poem not only provides an enjoyable reading experience but also imparts a valuable lesson. The poem serves as a vehicle for learning the art of gracefully handling losses, both small and large, leaving readers with a sense of enlightenment and appreciation for the wisdom embedded within its verses.

Works Cited: “One Art”

Bishop, Elizabeth. “One Art.” n.d. Poetry Foundation. Web. Accessed 22 Nov. 2022.

Relevant Questions about “One Art”

1. “How does Elizabeth Bishop employ humor in ‘One Art,’ and what role does it play in conveying the poem’s deeper message?”
2. “In ‘One Art,’ how does Bishop use the repetition of the phrase ‘The art of losing’ to emphasize the poem’s central theme, and what impact does it have on the overall structure and tone?”
3. “What is the significance of the dual meaning behind the title ‘One Art,’ and how does it reflect the interconnectedness of losing and writing in Elizabeth Bishop’s poem?”

Introduction: “Ulysses”

Every literary piece presents universal human traits to impart lessons to readers. “Ulysses” by Lord Alfred Tennyson is no exception, offering insights into such traits. The method the poet employs involves a monologue delivered by the renowned Grecian hero also known as Odysseus. The poem captures his contemplations about an extended stay at home, a situation contrary to his adventurous nature. Ulysses reflects on his relationship with his son, acknowledging the natural differences between them. Additionally, he contemplates the ambitious journey he plans to embark on with his mariners.

The monologue concludes with him asserting that human life is fraught with risks and dangers, emphasizing its transient nature. He advocates for embracing adventure to etch his name in history before life concludes. The entirety of the monologue provides a glimpse into his life, highlighting his self-reflection and his sense of responsibility towards Ithaca. This responsibility compels him to impose “Unequal laws unto a savage race” (line 4), even though it contradicts his adventurous inclination to stay and enforce such laws. Ulysses’ enduring passion for exploration becomes evident as he declares, “I cannot rest from travel” (line 6).

Through the character of Ulysses, the poem delves into universal human traits, including curiosity, inherent differences in nature, and the ephemeral nature of human existence.

Human Nature

Curiosity is portrayed as an intrinsic aspect of human nature in the poem. Ulysses’ own curiosity becomes a representative of the broader human desire for exploration and discovery. This is evident in Ulysses’ contemplation of sitting idle in his kingdom, expressed through the assertion, “I cannot rest from travel” (line 6). The implication is that the innate drive to seek the unknown is deeply ingrained in his character.

However, Ulysses’ curiosity is not unique to him alone; it is a shared characteristic of humanity. The fulfillment of this trait carries significant meaning, encompassing the desire to establish a reputation, take pride in one’s achievements, and, above all, garner public appreciation. Ulysses exemplifies these three motivations through his curiosity. Firstly, he emphasizes that he has achieved renown, with people recognizing him for his adventurous spirit: “I am become a name / For always roaming with a hungry heart” (lines 11-12).

Regarding the second motivation, Ulysses takes pride in his name by showcasing his extensive knowledge of diverse people, climates, governments, and cultures encountered during his renowned voyages (lines 13-14). This pride is further demonstrated through his bravery, which has earned him public acclaim, and through his experiences, which have shaped his understanding of human nature. His statement, “I am a part of all that I have met” (line 18), underscores his pride in possessing knowledge that others lack, reflecting various perspectives on individuals and things.

Tennyson, through this monologue, highlights the universal human trait of curiosity as a catalyst for diverse emotions. Moreover, the narrative draws attention to the differences in human nature, emphasizing the unique ways individuals express and channel their curiosity.

Differences in Nature

Tennyson skillfully underscores the differences in human nature through the character of Ulysses in the poem. Even though Telemachus is Ulysses’ own son and has assumed the responsibilities of ruling the city, Ulysses perceives significant distinctions between them. Despite passing on the royal duties to Telemachus as he ages, Ulysses observes that his son lacks the same level of curiosity and does not actively seek appreciation as he himself does. This is encapsulated in the line, “He works his work, I mine” (line 43), indicating the divergence in their natures, pursuits, and perspectives.

Ulysses’ brief commentary on his son speaks volumes about his nuanced understanding of human nature, a wisdom acquired through encounters with diverse individuals during his voyages. These experiences have taught him the intrinsic diversity among people. While Ulysses cannot fathom a life of idleness, he recognizes that Telemachus operates differently. Their distinct natures and pursuits are a testament to the multifaceted nature of humanity.

In acknowledging Telemachus as his “own Telemachus” (line 33), Ulysses acknowledges the familial connection despite their differences. However, the divergence in their natures becomes more pronounced, particularly in Ulysses’ enduring adventurous spirit that persists even in his advanced age, acknowledging the transient nature of human life. This juxtaposition further emphasizes the unique and varied facets of human character.

Transience of Human Nature

The theme of the transience of human life becomes poignant in the concluding lines of the poem. Ulysses, while highlighting the differences with his son, acknowledges the inevitability of his own mortality. When he expresses his intention to take everything “When I am gone” (line 43), it reflects an acceptance that he does not anticipate immortality. This acceptance becomes a backdrop as Ulysses reflects on his old age and addresses his mariners.

Ulysses notes that both he and his mariners have grown old, and despite the approach of old age, they have not achieved something noble or commendable. This contemplation on the passing of time does not dampen Ulysses’ resolve. He remains determined and resolute, expressing his unwavering commitment to embark on another journey to make a name for himself. The call to “’T is not too late to seek a newer world” (line 57) reveals his enduring enthusiasm for exploration.

What’s intriguing about his resolution is its persistence until death. This not only underscores the indomitable will of human beings but also serves as a poignant commentary on the temporary nature of human existence. Ulysses, as the representative of all humanity, exemplifies this universal trait – the passionate pursuit of goals, irrespective of whether one faces life or death. In short Ulysses symbolizes the human drive to achieve, emphasizing the eternal struggle that individuals undertake, regardless of the temporal constraints of life.

Conclusion: “Ulysses”

Making it short, the analysis reveals that the poem “Ulysses” transcends being merely the monologue of a Grecian hero; it emerges as the monologue of a universal human being contemplating common traits that propel humanity towards greatness. The first of these traits, curiosity, is portrayed as a universal characteristic of great minds, exemplified by Ulysses. When he expresses that it prevents him from sitting still, he implies that it is inherent in his nature. Similarly, this relentless curiosity compels other human beings to strive for accomplishments beyond the ordinary.

Likewise, the theme of differences in nature resonates universally. Ulysses compares himself with his son, Telemachus, highlighting the inherent diversity among individuals. Despite being his son, Telemachus finds contentment in assuming rulership after replacing his father, while Ulysses, despite his advanced age, remains determined to embark on further adventures.

The third trait, acknowledging the temporariness of human life, is an undeniable reality. However, this awareness does not deter individuals from pursuing the quest for a name or greatness. In essence, the poem “Ulysses” by Tennyson illustrates that certain human traits are prevalent among most people, propelling them towards significant achievements. Lacking these traits might result in a passive existence. Consequently, the poem imparts a lesson to its readers – by cultivating a passion for greatness, individuals can apply these universal traits and achieve remarkable feats in their lives, even in the face of life’s transitory nature

Works Cited:

Alfred, Lord Tennyson, “Ulysses.” Poetry Foundation. n. d. https://www.poetryfoundation.org/poems/45392/ulysses. Accessed on 16 Apr. 2022.

Relevant Questions:

1. How does Tennyson use the character of Ulysses to explore the universal human trait of curiosity, and how does this trait drive Ulysses to seek constant exploration and adventure?
2. In “Ulysses,” how does the poem portray the differences in nature between Ulysses and his son Telemachus, and what implications does this comparison have for understanding the diversity in human aspirations and pursuits?
3. Considering the theme of the transience of human life in “Ulysses,” how does the poem suggest that individuals can still find meaning and purpose despite the awareness of life’s impermanence?

Introduction: “To His Coy Mistress”  

The central idea of the poem “To His Coy Mistress” is seduction and time. Time flits around in the first section, and its slow movement is ideal for those who express love. However, in the second part, time enters threateningly and relentlessly reminds those who like to postpone joy that it shows no happiness at all. Other themes include mortality, confinement, and freedom. The poem has several levels of meaning. On the surface, it serves as an argument of a lover urging the pursuit of worldly happiness. The title suggests a lady who pretends to be reserved or shy, but in reality, she does not accept his love and plays games. The setting of the poem is not explicitly mentioned; however, it is likely set in a poorly lit bar of a hotel. The tone is depressed and lonely.

Speaker in “To His Coy Mistress”

 The speaker initiates the poem by assuring his mistress that if they had an abundance of time, he would love her slowly, dedicating thousands of years to the growth of his “vegetable love” (10). However, in the second stanza, he alters his approach, emphasizing the scarcity of time and urging her to act quickly: “At my back I always hear/ Time’s winged chariot hurrying near” (21-22). The speaker attempts to persuade his beloved to consummate their love promptly, employing images of death and decay to instill fear, cautioning against delaying intimacy until “worms shall try/ That long-preserved virginity” (27-28).

In this stanza, the speaker stresses the urgency of their actions, emphasizing their youth, desirability, and capability. They must seize the moment and “sport” to triumph over the destructive force of time. The speaker likens them to sportive animals, presenting a choice between becoming birds of prey to devour time or succumbing to the eternal predator: “And now, like amorous birds of prey, /Rather at once our time devour” (44-45).

Form of “To His Coy Mistress”

The structure of “To His Coy Mistress” is crafted as a dramatic monologue a literary form that allows a single speaker to convey their thoughts, emotions, and intentions directly to an audience. Divided into three stanzas, the poem unfolds across forty-three lines, each composed in the form of rhymed couplets. The consistent rhyme scheme throughout the poem follows the pattern AABBCCDD, contributing to the poem’s rhythmic and harmonious flow.

The choice of a dramatic monologue provides a glimpse into the speaker’s innermost reflections, allowing readers to delve into the complexities of his emotions and persuasive tactics. The three-stanza arrangement serves to delineate the evolving stages of the speaker’s argument. The first stanza presents an idyllic and leisurely view of love, contrasting sharply with the urgent tone that emerges in the subsequent stanzas.

The regular rhyme scheme enhances the poem’s musicality, creating a melodic quality that engages readers and underscores the speaker’s passionate plea. This formal structure, combined with the thematic progression, adds layers of meaning to the poem, offering both aesthetic pleasure and a deeper exploration of the speaker’s intricate attempt to sway his coy mistress.

Meter in “To His Coy Mistress”

The poem is composed in iambic tetrameter, where each line consists of four iambs or eight syllables. An example of this rhythmic pattern can be found in the lines, “Had we but world enough, and time,/This coyness, Lady, were no crime” (1-2). The style follows a syllogistic or logical argumentation.

Various literary devices enrich the poem’s expression, including hyperbole. For instance, the exaggerated notion that if the mistress dies as a virgin, worms would utilize her body for sexual purposes is a notable use of hyperbolic imagery. Additionally, the poet employs vivid imagery related to wings and incorporates symbols of time and imperialism to convey deeper meanings within the text. Irony is another device skillfully utilized to underscore the speaker’s persuasion.

Incorporating these literary elements enhances the overall texture and depth of the poem, allowing readers to engage with both the explicit and nuanced layers of the speaker’s discourse.

Works Cited: “To His Coy Mistress”

Marvell, Andrew. “To His Coy Mistress.” Poetry Foundation. n.d. Web. Accessed 22 Nov. 2022.

Relevant Questions: “To His Coy Mistress”

1. “To His Coy Mistress”: How does the poem’s use of vivid imagery such as the reference to time’s winged chariot, contribute to the overall persuasive tone of the speaker in urging his coy mistress to act swiftly in love?
2. How does the thematic progression within “To His Coy Mistress” reflect the contrast between the leisurely view of love presented in the first stanza and the urgency conveyed in the subsequent stanzas, emphasizing the speaker’s shifting emotional stance?
3. “To His Coy Mistress”: Explore the significance of the poem’s formal structure, including the use of iambic tetrameter and the AABBCCDD rhyme scheme, in conveying the persuasive arguments of the speaker and enhancing the overall impact of the poem.

Introduction: “You Fit Into Me”

“You Fit Into Me” illustrates that language, particularly words, can be enigmatic entities, sometimes requiring years to acquire meaning. Despite the vastness of pages, there are instances when words fall short in explaining certain events, feelings, or emotions. Poets, however, possess the remarkable ability to encapsulate profound meanings in just a few words. Margaret Atwood’s poem is a testament to this skill.

In a mere four lines, totaling 16 words, Atwood crafts a poem rich with multiple and contradictory meanings. Excluding the title, which also serves as the first line, the entire poem consists of only four lines. The initial part conveys themes of love, while the latter takes a starkly opposing direction, revealing a new scenario saturated with barbarism, cruelty, and oppression in every word.

The object introduced in the first two lines suggests love, embrace, and sexual desire but swiftly transforms into a symbol of torture and cruelty. The meanings conveyed extend beyond mere love, evoking thoughts of domestic violence, separation, or divorce, unraveling the harsh and cruel bonds of conjugal life.

Meanings in “You Fit Into Me”

The initial two lines of the poem carry profound meaning, representing two contrasting personalities: “you” signifies a male, while “me” denotes a female. The choice of “fit into” (Atwood 1) emphasizes a physical union, suggesting that only a male can fit into a female. This implies satisfaction derived from an embrace that may lead to copulation or sexual intercourse, likened to the connection of a simple mechanical object like a hook.

The metaphor of a hook and eye, commonly used as fasteners for women’s undergarments, is employed in these lines. This simile explicitly conveys that the urge expressed is not solely sexual but also encompasses a hunger for love. The poet desires her partner to embrace her tightly, akin to a hook, creating an unbreakable bond that defies social restrictions. The reference to a hook and eye, which requires technical skill to open, signifies her wish for their embrace to be secure and resistant to external influences.

The imagery of the hook and eye goes beyond the physical; it symbolizes the poet’s hunger for love, wanting her partner to embrace her so intimately that their connection cannot be easily undone. On a deeper level, this imagery marks the beginning of conjugal life, where love initiates the journey that ultimately culminates in mutual sexual fulfillment for both partners.

Turn in  “You Fit Into Me”

The subsequent two lines take a distinct turn, introducing the words “fish” and “open,” significantly altering the meanings and infusing the portrayal of love with elements of blood, torture, and cruelty. The metaphor of the hook and eye now transforms into the kind of hook fishermen employ to ensnare fish. This specific hook pierces through the fish’s mouth and exits through the eye, leaving the fish ensnared and unable to escape. While the initial two lines express love, these subsequent lines starkly depict the ultimate consequence of love—torture and cruelty.

This shift implies a transition from the embrace of marriage and sexual fulfillment to the monotony and tedium that may follow when these elements exit one’s life. The once metaphorical hook and eye now become a fishhook and the real eye of an individual. The imagery in these lines is rife with the cruel treatment that conjugal life, symbolized by the hook and eye, inflicts upon the woman (“me”). The eye imagery, now bleeding, conveys the pain experienced, akin to a fish feeling the agony when the hook pierces its eye. Although the bait of love and sexual satisfaction is not explicitly mentioned, it underlies the expressions in these lines.

The theme of the final two lines, encompassing only six words with two articles, starkly contrasts with the sentiments expressed in the initial two lines. While there may not be a direct simile in these lines, the imagery of the fish and hook distinctly reflects the act of someone hooking a fish. This mirrors the first two lines, with the crucial difference being that the initial cloak of love transforms into a dagger in the latter part. It appears that these four lines elucidate a complex interplay of gender differences within the context of a relationship.

Conclusion: “You Fit Into Me”

In essence, this brief poem transforms the two-wheel cart of male-female relations into a sequence involving hook, eye, and eventually hook and fish. The layers of meaning can be unraveled across various levels, encompassing conjugal love, sexual satisfaction, and the modern complexities of human deception. However, the interpretation is entirely subjective, leaving it to the reader to discern their own understanding. The deceptive nature of the words adds to the complexity, as one meaning leads to another, creating a maze of multiple interpretations that captivates the reader’s mind.

The poem‘s hallmark lies in its rich tapestry of meanings and the reader’s ability to comprehend it on diverse levels. Whether viewed as a love poem or a political statement, one certainty prevails: the poem accommodates as many meanings as there are readers. Its intricacy lies in the deliberate use of words, leaving just enough to be fully comprehended. The poet, in crafting this four-line poem with the title as its first line, carefully considered all potential interpretations. The beauty of the entire poem is encapsulated in its brevity, inviting readers to explore its depths in a compact space.

Works Cited: “You Fit Into Me”

Atwood, Margaret. “You Fit into Me.” Poetry Foundation. Poetry Foundation. n.d. Web. 24 Feb. 2015.

Relevant Questions: “You Fit Into Me”

1. How does the choice of metaphorical imagery, such as the hook and eye, in “You Fit Into Me” contribute to the overall theme of the poem?
2. In what ways does the poem explore the complexities and dynamics of relationships, specifically gender roles and the evolution of emotions from love to potential cruelty and deception?
3. Considering the brevity of the poem, how does Margaret Atwood effectively convey a multiplicity of meanings and invite readers to interpret “You Fit Into Me” on various levels?

Introduction: “The War Prayer”

The theme of “The War Prayer” revolves around the cruelty of imperialistic forces and the ensuing consequences depicted through the portrayal of harsh prayers in what should be a peaceful environment. It delves into the imperialistic ambitions of Americans at the beginning of the 20th century, specifically referencing the Philippine-American War that occurred from 1899 to 1902. The poet employs an ironic tone to highlight the paradox of individuals praying for destruction within the sacred confines of a church—a space traditionally associated with true peace. The setting of the poem adds another layer of irony, prompting readers to question the nature of the prayers being offered. What, exactly, do the people pray for in this seemingly serene setting? The speaker’s identity remains undisclosed, while the narrative unfolds through the interactions between two characters: a mysterious stranger and a priest. Their dialogue and actions contribute to the overarching irony, creating a nuanced exploration of the consequences of imperialistic fervor.

In terms of its title, the poem skillfully encapsulates the essence of religious zeal during times of war. The choice of words not only evokes the fervent spiritual atmosphere surrounding conflict but also alludes to the paradoxical nature of invoking divine intervention for destructive purposes.

Patriotism in “The War Prayer”

The poet initiates the narrative with an emotional and poetic exploration of the community’s patriotism during wartime. The compatriots are depicted as cheering, drums beating, and “the bands playing, the toy pistols popping” (Twain). Additionally, he goes on to illustrate that “the church was filled; the volunteers were there” (Twain). However, the speaker appears to take a critical stance towards imperialism, characterizing them as callous and cold, particularly in their prayers for victory and the protection of their soldiers.

War Prayers in “The War Prayer”

Subsequently, the speaker delves into the genuine war prayers throughout the remainder of the poem, offering an explanation for the potential negativity or positivity inherent in such supplications. The objective is to awaken people to the injustice they unwittingly support. A mysterious figure enters the scene, articulating how prayers, while bestowing blessings upon some, may inadvertently bring curses upon others: “If you beseech a blessing upon yourself, beware! lest without intent you invoke a curse upon a neighbor at the same time” (Twain).

As the narrative unfolds, the speaker concludes that the prayers directed to the Almighty may take a sinister turn, proving unfortunate for certain Christians. This is because a war prayer inherently carries with it the fervent wish that God would annihilate the opposing side.

Structure of “The War Prayer”

The poem adopts the form of a prose poem or short story, devoid of traditional stanzas and rhyme schemes. Nevertheless, it incorporates elements of internal rhyme, as exemplified by the use of words such as “ignorantly, silently, and victory” (Twain).

Style of “The War Prayer”

The style is ironic, elucidated through the effective use of purposefully chosen words and powerful, connotative diction. The poet employs symbols, with the priest representing pro-imperialism and the stranger embodying anti-imperialism. Additionally, alliteration is skillfully incorporated in various lines, as seen in “exalting excitement,” “war, was,” and “glad and gracious” (Twain).

Works Cited

Twain, Mark. “The War Prayer.” n.d. Poetry Foundation. Web. Accessed 22 Nov. 2014.

Three Relevant Questions about “The War Prayer”

1. “The War Prayer” and Irony: How does the poem employ irony as a literary device to convey its message about the consequences of war prayers?
2. Symbolism in “The War Prayer”: What is the significance of the symbols used in the poem, particularly the characters of the priest and the stranger, in conveying the poet’s perspective on imperialism?
3. Stylistic Devices in “The War Prayer”: How does Mark Twain use stylistic elements such as alliteration to enhance the impact of the poem and contribute to the overall tone and message?

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?