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Writer 2<br />
concern for himself back to the representatives of civilization, the unseen<br />
owner of the woods and the horse in harness. Thus, the indifferent animal<br />
becomes, in his master’s alerted imagination, the guardian who sounds the<br />
alarm which rings above the whispered invitation. (151)<br />
The poem deals with much conflict for the speaker. As another critic says, “’Stopping by<br />
Woods on a Snowy Evening’ rejects nature’s impersonal appeal in favor of purpose, but<br />
the carefully vague last stanza refuses to indicate whether such purpose is self-generated<br />
or determined” (Nitchie 44). Cox adds, “The haunting rhythms of ‘Stopping by Woods<br />
on a Snowy Evening’ express the powerful fascination the woods have on the traveler,<br />
who—in the face of a long journey, descending night, and falling snow—pauses in the<br />
gathering gloom of the darkest evening of the year, transfixed by the compelling<br />
invitation of the forest” (150). Should he stay in the woods, where he is enjoying the<br />
peaceful serenity away from the troubles of his everyday life? Or should he leave the<br />
woods, go back into town, and face his obligations and continue to live his life? The<br />
speaker answers these questions in the last two lines: “And miles to go before I sleep /<br />
And miles to go before I sleep” (Frost 1070).<br />
Robert Frost’s poem “The Road Not Taken” consists of four stanzas with five<br />
lines in each stanza. There are four stressed syllables per line, and the rhyme scheme is<br />
five lines, with the exception of the last line “And that has made all the difference” (Frost<br />
143). Similar to “Stopping by Woods on a Snowy Evening,” this poem uses imagery to<br />
delineate the setting of this poem: “Two roads diverged in a yellow wood” (Frost 142)<br />
creates a vivid picture of the concrete present. This poem exemplifies the speaker’s belief<br />
that which path individuals choose in life makes them the people that they are. Nitchie