Complete Text
Two roads diverged in a yellow wood
And sorry I could not travel both
And be one traveler, long I stood
And looked down one as far as I could
To where it bent in the undergrowth; 5
Then took the other, as just as fair
And having perhaps the better claim,
Because it was grassy and wanted wear;
Though as for that, the passing there
Had worn them really about the same, 10
And both that morning equally lay
In leaves no step had trodden black.
Oh, I kept the first for another day!
Yet knowing how way leads on to way,
I doubted if I should ever come back. 15
I shall be telling this with a sigh
Somewhere ages and ages hence:
Two roads diverged in a wood and I—
I took the one less traveled by,
And that has made all the difference. 20
Summary
The speaker stands in the woods, considering a fork in
the road. Both ways are equally worn and equally overlaid with un-trodden
leaves. The speaker chooses one, telling himself that he will take
the other another day. Yet he knows it is unlikely that he will
have the opportunity to do so. And he admits that someday in the future
he will recreate the scene with a slight twist: He will claim that
he took the less-traveled road.
Form
“The Road Not Taken” consists of four stanzas of five
lines. The rhyme scheme is ABAAB; the rhymes are strict and masculine,
with the notable exception of the last line (we do not usually stress
the -ence of difference). There
are four stressed syllables per line, varying on an iambic tetrameter
base.
Commentary
This has got to be among the best-known, most-often-misunderstood
poems on the planet. Several generations of careless readers have
turned it into a piece of Hallmark happy-graduation-son, seize-the-future
puffery. Cursed with a perfect marriage of form and content, arresting
phrase wrought from simple words, and resonant metaphor, it seems
as if “The Road Not Taken” gets memorized without really being read.
For this it has died the cliché’s un-death of trivial immortality.
But you yourself can resurrect it from zombie-hood by
reading it—not with imagination, even, but simply with accuracy.
Of the two roads the speaker says “the passing there / Had worn
them really about the same.” In fact, both roads “that morning lay
/ In leaves no step had trodden black.” Meaning: Neither of
the roads is less traveled by. These are the facts; we cannot
justifiably ignore the reverberations they send through the easy aphorisms
of the last two stanzas.
One of the attractions of the poem is its archetypal dilemma,
one that we instantly recognize because each of us encounters it
innumerable times, both literally and figuratively. Paths in the
woods and forks in roads are ancient and deep-seated metaphors for
the lifeline, its crises and decisions. Identical forks, in particular, symbolize
for us the nexus of free will and fate: We are free to choose, but
we do not really know beforehand what we are choosing between. Our
route is, thus, determined by an accretion of choice and chance,
and it is impossible to separate the two.
This poem does not advise. It does not say, “When you
come to a fork in the road, study the footprints and take the road
less traveled by” (or even, as Yogi Berra enigmatically quipped,
“When you come to a fork in the road, take it”). Frost’s focus is
more complicated. First, there is no less-traveled
road in this poem; it isn’t even an option. Next, the poem seems
more concerned with the question of how the concrete present (yellow woods,
grassy roads covered in fallen leaves) will look from a future vantage
point.
