Irrational Choices Exposed in Robert Frost's The Road Not Taken Essay

Irrational Choices Exposed in Robert Frost's The Road Not Taken Essay

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Irrational Choices Exposed in The Road Not Taken

 

 

Self-reliance in "The Road Not Taken" is alluringly embodied as the outcome of a story presumably representative of all stories of self-hood, and whose central episode is that moment of the turning-point decision, the crisis from which a self springs: a critical decision consolingly, for Frost's American readers, grounded in a rational act when a self, and therefore an entire course of life, are autonomously and irreversibly chosen. The particular Fireside poetic structure in which Frost incarnates this myth of selfhood is the analogical landscape poem, perhaps most famously executed by William Cullen Bryant in "To a Waterfowl," a poem that Matthew Arnold praised as the finest lyric of the nineteenth century and that Frost had by heart as a child thanks to his mother's enthusiasm.

 

The analogical landscape poem draws its force from the culturally ancient and pervasive idea of nature as allegorical book, in its American poetic setting a book out of which to draw explicit lessons for the conduct of life (nature as self-help text). In its classic Fireside expression, the details of landscape and all natural events are cagily set up for moral summary as they are marched up to the poem's conclusion, like little imagistic lambs to slaughter, for their payoff in uplifting message. Frost appears to recapitulate the tradition 'in his sketching of the yellow wood and the two roads and in his channeling of the poem's course of events right up to the portentous colon ("Somewhere ages and ages hence:") beyond which lies the wisdom that we jot down and take home:

Two roads diverged in a wood, and I --
I took the one less traveled by,
And that has made all the di...


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...lly understood to endorse -- predicts, in other words, what the poem will be sentimentally made into, but from a place in the poem that its Atlantic Monthly reading, as it were, will never touch. The power of the last stanza within the Fireside teleology of analogical landscape assures Frost his popular audience, while for those who get his game -- some member, say, of a different audience, versed in the avant-garde little magazines and in the treacheries of irony and the impulse of the individual talent trying, as Pound urged, to "make it new" against the literary and social American grain - for that reader, this poem tells a different tale: that our life-shaping choices are irrational, that we are fundamentally out of control. This is the fabled "wisdom" of Frost, which he hides in a moralizing statement that asserts the consoling contrary of what he knows.

 

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