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¶ … deliberations -- deeply thoughtful, philosophical ponderings -- about traveling through life and encountering troubling decisions, then asking questions vis-a-vis those decisions. Frost's "The Road Not Taken" turns out to be the road that was taken, although the speaker assures the reader that it was a tough decision. And in Rossetti's "Uphill" the speaker is unsure of the future but must keep traveling even though at the end of the journey the light is fading. Both poems embrace the confusion and even uncertainty about the future, and both are reflective of -- and in a real way they mirror -- how life moves along through time and why intelligent, thoughtful people can have fear of the future and can be troubled as to how and why the future will be kind or unkind to the individual.
Speakers
Poem One (Frost): Frost's speaker lets the reader know in the first stanza that he is in a bit of a quandary as to which road to take. "Long I stood," he writes, sounding a bit like an older person. His lines seem to convey a theme of an older person because older people are known to have trouble making up their minds, or at least they are known to be confused (at least momentarily) by choices in front of them. Older people have a lot of time on their hands so that explains why the speaker is in no hurry to choose a path to take. Moreover the speaker keeps reminding the reader that the roads are equal, and yet they aren't, which comes across as equivocation that one might associate with an older person. The theme then...
The first speaker could be a young voice and the voice that answers seems wise and full of good advice. The journey in this poem could well be a metaphor for life's journey, not just to a hotel (inn) but to maturity and possibly death. Every question could be interpreted as a younger person asking an older person what the journey into maturity will entail. The line, "A roof for when the slow dark hours begin," seems to be suggesting that when a person gets on in years and slows down, and the light is beginning to vanish, that is old age. "May not the darkness hide it from my face?" The young speaker asks, and the wise voice answers, "You cannot miss that inn," which could be a metaphor for the fact that we all grow old and the end of the trail for all of us will be obvious.
Depictions of the Fathers
Poem One (Frost): The truth about fathers is that during their lifetimes they have been obligated to make choices. Sometimes they have hesitated and contemplated what choice to make; for example, should I encourage my child to take this one path to adulthood, or maybe I should urge him to take a different path to his future? Fathers are not always rational either, and the poet has not…
Jesus' Teachings, Prayer, & Christian Life "He (Jesus) Took the Bread. Giving Thanks Broke it. And gave it to his Disciples, saying, 'This is my Body, which is given to you.'" At Elevation time, during Catholic Mass, the priest establishes a mandate for Christian Living. Historically, at the Last Supper, Christ used bread and wine as a supreme metaphor for the rest of our lives. Jesus was in turmoil. He was
Patriarch Nothing stays with us in life as powerfully as the images of our parents we take with us into adulthood. A harsh father, a loving mother, a single parent who was on the edge of exhaustion, but always available... The emotions attached to these memories affect our adult decisions. These recollections influence how we see ourselves, who we believe we can be in the adult world, and who we
Victorian literature was remarkably concerned with the idea of childhood, but to a large degree we must understand the Victorian concept of childhood and youth as being, in some way, a revisionary response to the early nineteenth century Romantic conception. Here we must, to a certain degree, accept Harold Bloom's thesis that Victorian poetry represents a revisionary response to the revolutionary aesthetic of Romanticism, and particularly that of Wordsworth. The
" (Gibbs 226) Alvardo de Campos is a naval engineer by profession and while his earlier writings are positive, his work develops characteristics of existential angst. Furthermore, what is intriguing is that all of these fictive authors created by Pessoa interact with one another and even translate each other's works. (Gibbs 226) One critic notes that "Fernando Pessoa invented at least 72 fictive identities. "His jostling aliases...expressed his belief that the
" James a.S. McPeek further blames Jonson for this corruption: "No one can read this dainty song to Celia without feeling that Jonson is indecorous in putting it in the mouth of such a thoroughgoing scoundrel as Volpone." Shelburne asserts that the usual view of Jonson's use of the Catullan poem is distorted by an insufficient understanding of Catullus' carmina, which comes from critics' willingness to adhere to a conventional -- yet incorrect
As Geisel (2004) notes: Income-tax deductions are worth the most to high-bracket taxpayers, who need little incentive to save, whereas the lowest-paid third of workers, whose tax burden consists primarily of the Social Security payroll tax (and who have no income-tax liability), receive no subsidy at all. Federal tax subsidies for retirement saving exceed $120 billion a year, but two thirds of that money benefits the most affluent 20% of