Movie Online The Roads Not Taken gomovies Solarmovie Solar Movies in Hindi

↡↡↡↡↡ Putlockers






  • writed by Sally Potter
  • director Sally Potter
  • Branka Katic
  • Movie info Sally Potter's THE ROADS NOT TAKEN follows a day in the life of Leo (Javier Bardem) and his daughter, Molly (Elle Fanning) as she grapples with the challenges of her father's chaotic mind. As they weave their way through New York City, Leo's journey takes on a hallucinatory quality as he floats through alternate lives he could have lived, leading Molly to wrestle with her own path as she considers her future

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; 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, 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. 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.


I usually like the narration on your videos but something was a little off about this one. Like he was stopping and emphasizing in the wrong places. Oh my god the poly rhythms. Animation Mar 19, 2018, 71 videos Video by The Atlantic Robert Frosts poem “The Road Not Taken” is often interpreted as an anthem of individualism and nonconformity, seemingly encouraging readers to take the road less traveled. This interpretation has long been propagated through countless song lyrics, newspaper columns, and graduation speeches. But as Frost liked to warn his listeners, “You have to be careful of that one; its a tricky poem—very tricky. ” In actuality, the two roads diverging in a yellow wood are “really about the same, ” according to Frost, and are equally traveled and quite interchangeable. In fact, the critic David Orr deemed Frosts work “the most misread poem in America, ” writing in The Paris Review: “This is the kind of claim we make when we want to comfort or blame ourselves by assuming that our current position is the product of our own choices… The poem isnt a salute to can-do individualism. Its a commentary on the self-deception we practice when constructing the story of our own lives. ” In the final stanza, we cant know whether the speaker is sighing with contentedness or regret as he justifies the choices hes made and shapes the narrative of his life. Frost wrote the poem to tease his chronically indecisive friend, Edward Thomas, who misinterpreted the meaning and enlisted in the military shortly thereafter, only to be killed two years later in WWI. “The Road Not Taken” was originally published in The Atlantic in 1915 along with two other poems from Frost. It is now widely considered to be one of the most popular works of American literature. We want to hear what you think about this article. Submit a letter to the editor or write to Author: Jackie Lay About This Series Short, animated videos from The Atlantic.

FF10: Dom races Mjolnir before it reaches Magneto's hand. Such a fantastic writer. Just great. Awesome very helpful. 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; The two roads symbolize, obviously, the choices that the speaker faces in life. He cannot take both, as much as he would like to, so he spends time in comtemplation and observation. He cannot see far, not far enough to make a confident decision as to the better nature of one over the other. The fact that it is a "yellow wood" perhaps indicates that, as fall is often a symbol of the waning years of one's life, the speaker is past his youth, when he can make a choice with the confidence that it is correctible at a later time. The choice he makes will be permanent, highly impacting the rest of his fast-disappearing days. As one approaches middle age, he comes to grip with the fact that his time for hopes and dreams is past; he must come to grips with the reality created by the choices he has made. 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, Here the speaker seems to be contradictory. He has made a choice, but is still unsure about it. It is "just as fair" yet it has "the better claim. "  Then again, there is no appreciable difference as the "passing there / Had worn them really about the same. He is still trying to convince himself that either choice would have been acceptable (just in case this path proves ill-advised. He cannot quite make up his mind about the wisdom of his decision. 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. The speaker is still in the process of convincing himself, even to the point of self-delusion. He tries to tell himself that, should this road proves not the right one, he will have the chance to go back to take the other road. Yet, in a road of complete honesty, he knows that life will probably not allow him the choice to return, even if he should wish to. He has transitioned to the point where he realizes that his youth is past and he must take up the responsility and reality of adulthood. 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. He has come to the decision that, for good or ill, the choice he has made will be permanent and highly effecting of his life.  He looks ahead to to time when he can look back and tell that the choice he made, whether wisely or unwisely, was the point at which his life's path was set.

Oh my god YES THERE BACK AGAIN cant wait to see the 2nd movie and steve carel is playing little gru so cool i loved the 1st movie and cant wait to see the 2nd movie lol. OMFG OUR CHOURS IS TOMMOROW AND WE HAVENT GOT THIS GOOD YET OMFG IM SCARED 😭. The roads not openload {Watch' Full'Movie'Online'Streaming'Free. Recommend The. R"oads Not See page. My poems—I should suppose everybodys poems—are all set to trip the reader head foremost into the boundless. Ever since infancy I have had the habit of leaving my blocks carts chairs and such like ordinaries where people would be pretty sure to fall forward over them in the dark. Forward, you understand, and in the dark. FROST TO LEONIDAS W. PAYNE JR., November 1, 1927. “The Road Not Taken” has confused audiences literally from the beginning. In the spring of 1915, Frost sent an envelope to Edward Thomas that contained only one item: a draft of “The Road Not Taken, ” under the title “Two Roads. ” According to Lawrance Thompson, Frost had been inspired to write the poem by Thomass habit of regretting whatever path the pair took during their long walks in the countryside—an impulse that Frost equated with the romantic predisposi­tion for “crying over what might have been. ” Frost, Thompson writes, believed that his friend “would take the poem as a gen­tle joke and would protest, ‘Stop teasing me. ”   Article continues after advertisement That wasnt what occurred. Instead, Thomas sent Frost an admiring note in which it was evident that he had as­sumed the poems speaker was a version of Frost, and that the final line was meant to be read as generations of high school valedictorians have assumed. The sequence of their correspondence on the poem is a miniature version of the confusion “The Road Not Taken” would provoke in millions of subsequent readers: 1.  Frost sends the poem to Thomas, with no clarify­ing text, in March or April of 1915. 2.  Thomas responds shortly thereafter in a letter now evidently lost but referred to in later corre­spondence, calling the poem “staggering” but missing Frosts intention. 3.  Frost responds in a letter (the date is unclear) to ask Thomas for further comment on the poem, hoping to hear that Thomas understood that it was at least in part addressing his own behavior. 4.  Thomas responds in a letter dated June 13, 1915, explaining that “the simple words and unemphatic rhythms were not such as I was accustomed to expect great things, things I like, from. It stag­gered me to think that perhaps I had always missed what made poetry poetry. ” Its still clear that Thomas doesnt quite understand the poems stance or Frosts “joke” at his expense. Article continues after advertisement 5.  Frost writes back on June 26, 1915: “Methinks thou strikest too hard in so small a matter. A tap would have settled my poem. I wonder if it was because you were trying too much out of regard for me that you failed to see that the sigh [in line 16] was a mock sigh, hypo­critical for the fun of the I dont suppose I was ever sorry for any­ thing I ever did except by assumption to see how it would feel. ” 6.  Thomas responds on July 11, 1915: “You have got me again over the Path not taken & no mistake. I doubt if you can get anybody to see the fun of the thing without showing them & advising them which kind of laugh they are to turn on. ” Edward Thomas was one of the keenest literary thinkers of his time, and the poem was meant to capture aspects of his own personality and past. Yet even Thomas needed explicit instructions—indeed, six entire letters—in order to appreciate the series of double games played in “The Road Not Taken. ” That misperception galled Frost. As Thompson writes, Frost “could never bear to tell the truth about the failure of this lyric to perform as he intended it. Instead, he frequently told an idealized version of the story” in which, for instance, Thomas said, “What are you trying to do with me? ” or “What are you doing with my character? ” One can understand Frosts unhappiness, considering that the poem was misunderstood by one of his own early biographers, Eliz­abeth Shepley Sergeant (“Thomas, all his life, lived on the deeply isolated, lonely and subjective ‘way less travelled by which Frost had chosen in youth”) and also by the eminent poet-critic Robert Graves, who came to the somewhat baffling conclusion that the poem had to do with Frosts “agonized decision” not to enlist in the British army. (There is no evidence that Frost ever contemplated doing so, in agony or otherwise. Lyrics that are especially lucid and accessible are sometimes described as “critic-­proof”; “The Road Not Taken”—at least in its first few decades—came close to being reader­-proof. The difficulty with “The Road Not Taken” starts, ap­propriately enough, with its title. Recall the poems conclu­sion: “Two roads diverged in a wood, and I— / I took the one less traveled by. And that has made all the difference. ” These are not only the poems best­-known lines, but the ones that capture what most readers take to be its central image: a lonely path that we take at great risk, possibly for great reward. So vivid is that image that many readers simply assume that the poem is called “The Road Less Traveled. ” Search­ engine data indicates that searches for “Frost” and “Road Less Traveled” (or “Travelled”) are extremely common, and even ac­complished critics routinely refer to the poem by its most famous line. For example, in an otherwise penetrating essay on Frosts ability to say two things at once, Kathryn Schulz, the book reviewer for New York magazine, mistakenly calls the poem “The Road Less Traveled” and then, in an irony Frost might have savored, describes it as “not-very-Frosty. ” Because the poem isnt “The Road Less Traveled. ” Its “The Road Not Taken. ” And the road not taken, of course, is the road one didnt take—which means that the title passes over the “less traveled” road the speaker claims to have fol­lowed in order to foreground the road he never tried. The title isnt about what he did; its about what he didnt do. Or is it? The more one thinks about it, the more difficult it be­ comes to be sure who is doing what and why. As the scholar Mark Richardson puts it: Which road, after all, is the road “not taken”? Is it the one the speaker takes, which, according to his last description of it, is “less travelled”—that is to say, not taken by others? Or does the title refer to the suppos­edly better-­travelled road that the speaker himself fails to take? Precisely who is not doing the taking? We know that Frost originally titled the poem “Two Roads, ” so renaming it “The Road Not Taken” was a matter of deliberation, not whim. Frost wanted readers to ask the questions Richardson asks. More than that, he wanted to juxtapose two visions—two possible poems, you might say—at the very beginning of his lyric. The first is the poem that readers think of as “The Road Less Traveled, ” in which the speaker is quietly con­ gratulating himself for taking an uncommon path (that is, a path not taken by others. The second is the parodic poem that Frost himself claimed to have originally had in mind, in which the dominant tone is one of self­-dramatizing regret (over the path not taken by the speaker. These two potential poems revolve around each other, separating and overlapping like clouds in a way that leaves neither reading perfectly visible. If this is what Frost meant to do, then its reasonable to wonder if, as Thomas suggested, he may have outsmarted himself in addition to casual readers. But this depends on what you think “The Road Not Taken” is trying to say. If you believe the poem is meant to take a position on will, agency, the nature of choice, and so forth—as the majority of readers have assumed—then it can seem unsatisfying (at best “a kind of joke, ” as Schulz puts it.   But if you think of the poem not as stating various viewpoints but rather as performing them, setting them beside and against one another, then a very different reading emerges. Here its helpful, as is so often the case, to call upon a 19th-­century logician. In The Elements of Logic, Richard Whately describes the fallacy of substitution like so: Two distinct objects may, by being dexterously pre­sented, again and again in quick succession, to the mind of a cursory reader, be so associated together in his thoughts, as to be conceived capable. of being actually combined in practice. The fallacious belief thus induced bears a striking resemblance to the opti­cal illusion effected by that ingenious and philosophi­cal toy called the Thaumatrope; in which two objects painted on opposite sides of a card, —for instance a man, and a horse, —a bird, and a cage, —are, by a quick rotatory motion, made to impress the eye in combination, so as to form one picture, of the man on the horses back, the bird in the cage, etc. What is fallacious in an argument can be mesmerizing in a poem. “The Road Not Taken” acts as a kind of thaumatrope, rotating its two opposed visions so that they seem at times to merge. And that merging is produced not by a careful blend­ ing of the two—a union—but by “rapid and frequent transi­tion, ” as Whately puts it. The title itself is a small but potent engine that drives us first toward one untaken road and then immediately back to the other, producing a vision in which we appear somehow on both roads, or neither. That sense of movement is critical to the manner  in which the poem unfolds. We are continually being “reset” as we move through the stanzas, with the poem pivoting from one reading to the other so quickly that its easy to miss the transitions. This is true even of its first line. Heres how the poem begins: 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... The most significant word in the stanza—and perhaps the most overlooked yet essential word in the poem—is “roads. ” Frost could, after all, have said two “paths” or “trails” or “tracks” and conveyed nearly the same concept. Yet, as the scholar George Monteiro observes: Frost seems to have deliberately chosen the word “roads. ”. In fact, on one occasion when he was asked to recite his famous poem, “Two paths diverged in a yellow wood, ” Frost reacted with such feeling—“Two roads! ”—that the transcription of his reply made it necessary both to italicize the word “roads” and to follow it with an exclamation point. Frost re­cited the poem all right, but, as his friend remem­bered, “he didnt let me get away with ‘two paths! ” What is gained by “roads”? Primarily two things. First, a road, unlike a path, is necessarily man­made. Dante may have found his life similarly changed “in a dark wood, ” but Frost takes things a step further by placing his speaker in a setting that combines the natural world with civilization—yes, the traveler is alone in a forest, but whichever way he goes, he follows a course built by other people, one that will be taken, in turn, by still other people long after he has passed. The act of choosing may be solitary, but the context in which it occurs is not. Second, as Wendell Berry puts it, a path differs from a road in that it “obeys the natural con­ tours; such obstacles as it meets it goes around. ” A road is an assertion of will, not an accommodation. So the speakers de­cision, when it comes, whatever it is, will be an act of will that can occur only within the bounds of another such act—a way of looking at the world that simultaneously undercuts and strengthens the idea of individual choice. This doubled effect continues in the poems second and third lines, which summarize the dilemma around which “The Road Not Taken” is constructed: “And sorry I could not travel both / And be one traveler. ” Frost often likes to use repetition and its cousin, redundancy, to suggest the complex contours of seemingly simple concepts. In this case, we have what seems like the most straightforward proposi­tion imaginable: If a road forks, a single person cant “travel both” branches. But the concept is oddly extended to include the observation that one cant “travel both” and “be one trav­eler, ” which seems superfluous. After all, Frost might more easily and obviously have written the stanza like so (empha­sis mine) To where they ended, long I stood What, then, is the difference between saying one cant “travel both” roads and saying one cant “travel both / And be one traveler”? And why does Frost think that difference worth preserving? One way to address these questions is to think about what the speaker is actually suggesting hes “sorry” about. He isnt, for instance, sorry that he wont see whats at the end of each road. (If he were, it would make more sense to use the modified version above. Rather, hes sorry he lacks the capability to see whats at the end of each road—hes objecting not to the outcome of the principle that you cant be two places at once, but to the principle itself. Hes resisting the idea of a universe in which his selfhood is limited, in part by being subject to choices. (Compare this to the case of a person who regrets that he cant travel through time not be­ cause he wishes he could, say, attend the premiere of Hamlet, but simply because he wants to experience time travel. ) This assumes, of course, that the speaker regrets that he cant travel both roads simultaneously. But what if he instead means that it would be impossible to “travel both / And be one traveler” even if he returned later to take the second road? As Robert Faggen puts it, the suggestion here is that “experience alters the traveler”: The act of choosing changes the person making the choice. This point will be quietly re­inforced two stanzas later, when the speaker says that “know­ ing how way leads on to way. I doubted if I should ever come back”—the doubt is not only that he might return again to the same physical spot, but that he could return to the crossroads as the same person, the same “I, ” who left it. This reading of the poem is subtly different from, and bolder than, the idea that existence is merely subject to the need to make decisions. If we cant persist unchanged through any one choice, then every choice becomes a matter of existential significance—after all, we arent merely deciding to go left or right; were transforming our very selves. At the same time, however, if each choice changes the self, then at some point the “self” in question becomes nothing more than a series of accumulated actions, many of them extremely minor. Frosts peculiar addition—“And be one traveler”—consequently both elevates and reduces the idea of the chooser while at the same time both elevating and reducing the choice. The thau­matrope spins, the roads blur and merge. This is only the first stanza of “The Road Not Taken, ” and already its lines seem papered over with potential interpretations, some more plausible than others, but none of which can be discarded. One can see why Thomas said he found the poem “staggering. ” But then Frost takes things a step fur­ther. Having sketched the speaker and his potential choice in all their entangled ambiguity, he undermines the idea that there is really a choice to be made at all: 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, And both that morning equally lay In leaves no step had trodden black. The speaker wants to see the paths as different (one has “per­haps the better claim”) but admits that the distinctions, if they even exist, are minute (“the passing there / Had worn them really about the same”. The sameness of the roads will later be revised in the story the speaker says hell be telling “ages and ages hence”—as he famously observes, hell claim to have taken “the one less traveled by. ” Two things are worth pausing over in these stanzas. First, why is the physical appearance of the roads mentioned in the first place? We typically worry more about where roads go than what they look like. (Here again its worth contrasting “road” with “path” or “trail, ” neither of which implies a des­tination as strongly as “road. ”) So if all Frost intended was to parody a kind of romantic longing for missed opportunities, wouldnt it be more effective to imply that the roads reached the same location? As in: And making perhaps the better case, Because it seemed to lead elsewhere, Though at days end each traveler there Would finish in the selfsame place. Second, if youre determined to make the appearance of the roads the central issue, why make that appearance solely a function of how much travel each road had received? Why not  talk about how one road was sunnier or wider or stonier or steeper? “I took the one less traveled by” is often assumed to mean “I took the more difficult road, ” but this isnt neces­sarily true in either a literal or metaphorical sense. In scenic areas, after all, the less traveled paths are usually the least interesting and challenging (think of an emergency-­vehicle access road in a state park) and if we imagine “roads” as re­ferring to “life choices, ” the array of decisions that are “less traveled” yet both easy and potentially harmful is nearly end­ less (drug abuse, tax evasion, and so on. So if the idea was to suggest that the speaker wants to perceive his chosen road as not just lonely, but demanding, why not make a more direct statement that would lead to a more direct conclusion, like: Two roads diverged in a wood, and I— I took the one that dared me to try. These lines are bad, admittedly, but not much worse at first glance than the poems actual concluding lines, which in­volve the addition of an apparently superfluous preposition—“by”—that is almost always omitted when the poems crowning statement is invoked. (Theres a reason M. Scott Pecks bestseller is called The Road Less Traveled rather than The Road Less Traveled By. ) So whats going on here? Again, its helpful to imagine “The Road Not Taken” as consisting of alternate glimpses of two unwritten poems, one the common misconception, the other the parody Frost sometimes claimed to have intended. Every time the poem threatens to clarify as one or the other, it resists, moving instead into an uncertain in-­between space in which both are faintly apparent, like overlapping ghosts. This is relatively easy to see with respect to the “naive” read­ing of “The Road Not Taken” as a hymn to stoic individual­ism. Had Frost wanted to write that poem, it would indeed have been titled “The Road Less Traveled, ” and it might have gone something like this: To  where they ended, long I stood To where it bent in the undergrowth; And posing perhaps the greater test, Because it was narrow and wanted wear, Rising so steeply into thinning air That a man would struggle just to rest, While the other offered room to play Or stand at ease along the track. I took the lonelier road that day, And knowing how way leads on to way, I doubted if I should ever come back. I shall be telling this with a sigh Somewhere ages and ages hence: I took the one that dared me to try, And that has made all the difference. I make no claims for the elegance of this version, but it does have all the elements generally attributed to the actual “Road Not Taken”: an emphasis on solitary challenge, a tone of weary yet quietly confident resignation (what a skeptic would call self­ congratulation) and a plain choice between obviously different options. It would have been easy for Frost to write this poem. Yet thats not what he did. But neither did he write the parody that “The Road Not Taken” is widely considered to be among more sophisticated readers (or at least more care­ful readers. Frost had a barbed, nimble wit, and he would have had no trouble skewering romantic dithering more pointedly if that was all he had in mind. Such a poem might have been called “Two Roads” and gone like so: Would finish in the selfsame place, For both, I learned, were arms that lay Around the wood and met in one track. And whichever one I took that day Would  lead itself to the other way And send me forward to take me back. Still, I shall be claiming with a sigh I took the one on the left-hand side, And that has made all the difference. One of the essential elements of a parody is that it is recog­nized as such: A parody that is too obscure has failed its basic purpose. In “The Road Not Taken, ” Frost passes up several opportunities to make his “joke” more explicit, most notably by failing to give the roads a shared destination rather than simply a similar condition of wear. (And even that similarity is qualified, because it depends on the speakers perception, not his actual knowledge—after all, having failed to take the first road, he cant be sure how traveled it is or isnt, beyond his immediate line of sight. The usual interpretation of “The Road Not Taken” is almost certainly wrong, but the idea that the poem is a parody doesnt seem exactly right, either. And this brings us to the final stanza—more particularly, it brings us to one of the most carefully placed words in this delicately balanced arrangement. That word is “sigh”: Somewhere ages and ages hence... Frost mentions the sigh several times in his remarks about “The Road Not Taken, ” and while those comments are often oblique, its evident that he considered the word “sigh” es­sential to understanding the poem. It is “a mock sigh, hypocritical for the fun of the thing, ” he told Edward Thomas in 1915. It is “absolutely saving, ” he told an audience at  the Bread Loaf Conference half a century later. According to Lawrance Thompson, he would sometimes claim during public readings that a young girl had asked him about the sigh, and that he considered this a very good question—an anecdote that (in Thompsons view) was meant to encourage the audience to appreciate the poems intricacy. But why would it? After all, a sigh fits both of the usual readings of the poem, and therefore doesnt seem likely to make either of them more interesting. If we give the poem its popular, naive interpretation, then the sigh is one of tired yet self-­assured acceptance bordering on satisfaction: The speaker has taken the hard road, faced obstacles, lost things along the way, regrets, hes had a few—and yet hes ended up in a better, stronger place. Its a sigh of hard­-won maturity or tedious faux humility, depending on how you look at it. By contrast, if we think of the poem as an ironic commentary on romantic self­-absorption, then the sigh signals straightfor­ward regret: The speaker is genuinely troubled by the consequences of every small choice he makes, and his preoccupation with his own decisions renders him slightly ridiculous. But neither of these explanations for the sigh seems espe­cially obscure, let alone “absolutely saving. ” Perhaps thats because both of them glide past a key point: The sigh hasnt yet occurred. Recall the final stanza: I took the one less traveled by, The speaker isnt “telling this with a sigh” now; hes say­ ing that hell be sighing “ages and ages hence. ” He knows himself well enough—or thinks he does—to predict how hell feel about the consequences of his choice in the future. But if he actually knows himself this well, then its reason­ able to ask whether he would, in fact, behave in the way hes suggesting. Which is to say that the speaker isnt necessarily the kind of person who sighs while explaining that many years ago he took the less traveled road; rather, hes the kind of person who thinks he would sigh while telling us this story. Hes assuming that hell do something that will strike others as either self­-congratulatory or paralyzingly anxious. Its a small difference, but as with so many small differ­ences in “The Road Not Taken, ” it matters a great deal. Be­cause it allows us to feel affectionate compassion toward the speaker, whom its now possible to view less as a boaster or a neurotic than as a person who is perhaps excessively critical of his own perceived failings. This feature of the poem goes strangely unremarked in most commentary, and even when its noted, it tends to be folded into one of the two standard interpretations. Writing in The New Yorker, for instance, the critic Dan Chiasson declares that the sigh represents “a later version of the self that this current version, though moving steadily in its direction, finds pitiable, ” and he declares the poem to be a “cunning nugget of nihilism. ” But ones self­ image is only rarely accurate in the moment, let alone as a predictor of future behavior, and the poem itself provides no reason to conclude the speaker is “moving steadily” toward anything. Were no more bound to take his view of himself at face value than we are to believe Emma Bovary or Willy Loman. Its important to remember that while “The Road Not Taken” isnt strictly “about” Edward Thomas, it was, at least, strongly associated with Thomas by Frost. And as the scholar Katherine Kearns rightly notes, Frost “by all accounts was genuinely fond of Thomas. ” Indeed, “Frosts protean ability to assume dramatic masks never elsewhere included such a friend as Thomas, whom he loved and admired, tellingly, more than ‘anyone in England or anywhere else in the world. ” If you admire someone more than anyone “any­ where else in the world, ” you probably arent going to link that person with a poem whose speaker comes off as either obnoxious or enfeebled. But you might well connect him with an exquisitely sensitive and self-­aware speaker who thinks of himself—probably incorrectly—as fundamentally weak, and likely to behave in ways that will cause others to lose patience. “But you know already how I waver, ” Thomas wrote to Frost in early 1914, and “on what wavering things I de­pend. ” This is the figure who emerges between the two more common interpretations of “The Road Not Taken, ” and his doubting yet ardent sensibility is the secret warmth of the poem. This is what is, or can be, “absolutely saving. ” Poetry has always oscillated between guardedness and fervor. The effusions of Dylan Thomas give way to the iro­nies of Philip Larkin; the reticence of Elizabeth Bishop yields to the frenzy of Sylvia Plath; the closed becomes open; the hot grows cold. In this system of binaries, Frost has gen­erally been regarded as not merely guarded, but practically encircled by battlements. In part this is a matter of tempera­ment: His refusal to commit to positions can seem princi­pled, in a roundabout way, but also evasive in a manner that Pounds Cantos, for all their difficulty, are not. There is a sense that, like Thomas Hardy, Frost sometimes saw himself as more allied with the impersonal forces often depicted in his poems than with the human characters those forces so frequently overwhelm. He isnt warm. He doesnt tell us what hes thinking. His poetry doesnt advertise its ambitions. “He presents, ” declares the introductory note on Frost in the second edition of The Norton Anthology of Modern Poetry, “an example of reserve or holding back in genre, diction, theme, and even philosophy, which is impressive but also, as seen after his death by a generation bent on extravagance, cautious. ” “Cautious”: not a word Frost would have liked. In his per­sonal life, he was anything but, as is demonstrated by his nearly monomaniacal courtship of his wife, to say nothing of his decision to move to England at age 38 on the basis of a coin toss. (He was much bolder in this regard than almost all of his modernist peers. And the word seems equally inapplicable to his strongest writing, which is audacious in its willingness to engage multiple audiences (and be judged by them) as well as in its determination to dis­play its technical wizardry in a way that was certain to be initially underestimated. It takes tremendous nerve to be willing to look as if you dont know what youre doing, when in fact youre a master of the activity in question. Even in 1915, for example, it was far from “cautious” for an ambi­tious poet to open his first book by deliberately rhyming “trees” with “breeze, ” a pairing so legendarily banal that it had been famously singled out for derision by Alexander Pope 200 years earlier. True, Frost became tremen­dously successful by writing in the way he did, but success in a tricky venture doesnt make the venture itself any less risky. Yet if the word “cautious” is wrong, its interestingly wrong. “The Road Not Taken” seems to be about the diffi­culty of decision making but is itself strangely reluctant to resolve. It keeps us in the woods, at the crossroads, unsure whether the speaker is actually even making a choice, and then ends not with the decision itself but with a claim about the future that seems unreliable. There is, in this sense, no road that “The Road Not Taken” fails to take. Is that desire to cover all possibilities “cautious”? Here its useful to turn to another poem from Frosts early career, “Reluctance. ” That poem ends: Ah, when to the heart of man Was it ever less than a treason To go with the drift of things, To yield with a grace to reason, And bow and accept the end Of a love or a season? The conclusion of the poem is a protest against conclusions—an argument, you might say, for delay. But its not an argument for caution, even though caution and delay are intertwined. After all, a stubborn sensibility also delays. A playful sensibility delays. An arrogant sensibility de­lays, because it wont be rushed. And while Frost can claim the greatest self­-penned epitaph in the history of English­ language poetry—I HAD A LOVERS QUARREL WITH THE WORLD—it would have been no less accurate for his stone to have  read  STUBBORN, PLAYFUL, AND ARROGANT. Or even HE NEVER HURRIED. “The Road Not Taken” isnt a poem that radiates this sort of confidence, obviously. But there is an overlap between its hesitations and evasions and the extent to which Frost, as a poet, simply doesnt like to leave the page. Here is Frost from an interview with The Paris Review in 1960, talking about the act of writing: The whole thing is performance and prowess and feats of association. Why dont critics talk about those things—what a feat it was to turn that that way, and what a feat it was to remember that, to be reminded of that by this? Why dont they talk about that? Scoring. Youve got to score. Poetry is frequently (endlessly, tediously) compared to mu­sic, but only rarely does one see it compared to ice hockey. Yet here is Frost—“Youve got to score ”—doing exactly that. This is of a piece with his famous quip that writing free verse is “like playing tennis without a net, ” a bon mot that is probably more interesting for its underlying metaphor (poets, those sedentary creatures, are like sportsmen) than for its actual claim. There is a sinewy, keyed-­up athleti­cism to Frosts writing and, like all great athletes, hes reluc­tant to leave the field, which is, after all, the place hes most fully himself. Consider the end of his great love poem “To Earthward”: When stiff and sore and scarred I take away my hand From leaning on it hard In grass and sand, The hurt is not enough: I long for weight and strength To feel the earth as rough To all my length. Yes, these stanzas are about the hunger for sensation. But theyre also about delay: Frost wants to feel the friction of love through the “length” of his body, but also to the “length” of his days, and through the “length” of the poem. Not just more touch, but more time. And here is where Robert Frost and Edward Thomas (or Frosts idea of Thomas) are perhaps not so different. “The Road Not Taken” gives us several variations on the standard dilemmas associated with the romantic sensibility: How can one transcend ones self (“travel both”) while still remaining oneself (“And be one traveler”) How can one ever arrive anywhere if one is constantly reaching for something purer (“the one less traveled by”) What is the difference between the stories we tell about ourselves and the actuality of our inner lives? In the moment of choosing—the moment of delay—all answers to these questions remain equally possi­ble. But when a choice is made, other possibilities are fore­ closed, which leads to what Frost describes as “crying over what might have been. ” So the romantic embraces delay (“long I stood / And looked down one as far as I could”) because it postpones the inevitable loss. He hesitates like a candle flame wavers: hot but fragile, already wrapped in the smoke that will signal its extinction. Both Frost and the speaker of “The Road Not Taken, ” then, are attracted to the idea of prolonging the moment of decision making (achieving a “momentary stay against con­ fusion, ” as Frost would put it in a different context. The difference between them is one of attitude and degree. The speaker—and, by extension, Frosts conception of Thomas—is afraid of what hell lose when the process of choosing ends, so he pauses over nearly any choice. Frost is afraid of losing the process itself, so he pauses over a decision that might re­sult in genuine resolution—that might result, for instance, in a poem that is conclusive and immobile. He wants the ball to pass through the hoop, only to return to his hands, because for Frost the process—the continuation, the endless creation of endless roads—is everything. “No one, ” he writes, “can really hold that the ecstasy should be static and stand still in one place. ” You dont just have to score; you have to keep scoring. But no game can continue forever. Frosts fascination with delay allows him to understand the romantic sensibility, to sympathize with its fear of closure, even if its preoccupa­tions arent his own. And this understanding lets him create his own version of romantic yearning. This being Frost, of course, that yearning has very little in it of the “sigh” from “The Road Not Taken, ” or the overt regret that animates it. But it has a road, and the consequences of that road. Here is the beginning of “Directive, ” from 1946, which is usually considered to be Frosts last great poem: Back out of all this now too much for us, Back in a time made simple by the loss Of detail, burned, dissolved, and broken off Like graveyard marble sculpture in the weather, There is a house that is no more a house Upon a farm that is no more a farm And in a town that is no more a town. The road there, if youll let a guide direct you Who only has at heart your getting lost, May seem as if it should have been a quarry... The poem proceeds through a series of possible self­ deceptions that recall the potential self­-deceptions of “The Road Not Taken”: Make yourself up a cheering song of how Someones road home from work this once was, Who may be just ahead of you on foot. These in turn give way to a scene of homecoming that hovers somewhere between parody and pathos: Then make yourself at home. The only field Now lefts no bigger than a harness gall. First theres the childrens house of make-believe, Some shattered dishes underneath a pine, The playthings in the playhouse of the children. Weep for what little things could make them glad. Then for the house that is no more a house, But only a belilaced cellar hole, Now slowly closing like a dent in dough. This was no playhouse but a house in earnest. And the poem famously concludes with a cross between a baptism and the Grail quest: I have kept hidden in the instep arch Of an old cedar at the waterside A broken drinking goblet like the Grail Under a spell so the wrong ones cant find it, So cant get saved, as Saint Mark says they mustnt. (I stole the goblet from the childrens playhouse. ) Here are your waters and your watering place. Drink and be whole again beyond confusion. As many critics have noted, “Directive” contains elements from dozens of Frosts earlier poems and critical pronouncements. But its rarely connected with “The Road Not Taken”; indeed, the two are more likely to be contrasted than linked. Writing in Slate, for example, Robert Pinsky asserts that “works like ‘The Road Not Taken do not unsettle or revise any 19th-­century notions of form or idea, ” whereas “Frosts greatest poems, such as ‘Directive and ‘The Most of It, do radically challenge and reimagine old conceptions of mem­ory, culture, and ways of beholding nature. ” Its easy to see why some readers think this way. “Direc­tive” looks and feels both contemporary and significant. It shifts from one scene to another with little warning, it uses a motley palette of tones rather than one dominant, reliable voice, its simultaneously rhetorical and punning (“no play­ house but a house in earnest”) and it drops  numerous hints that it should be categorized as a Major Work. When David Lehman, the editor of the Best American Poetry series, asked his guest editors—all eminent contemporary poets— to name the greatest American poems of the century, “Direc­tive” was one of three Frost poems to receive multiple votes. “The Road Not Taken” didnt make the list, although it was named Americas favorite poem by the thousands of readers who participated in Pinskys Favorite Poem Project. This is to be expected. “Directive” has become the poem that dedicated readers—the same readers who consider “The Road Not Taken” a minor, dark joke—most admire. “This is the poem, ” Frost told an early biographer, “that converted the other group [the followers of T. S. Eliot. There I rest my case. ” It makes sense, then, that “Directive” continues to impress Eliots heirs. Reading it, you feel that if John Ashbery were to write a Robert Frost poem, this is what it would sound like. And yet there is good reason to connect the much cele­brated “Directive” with the frequently derided “The Road Not Taken. ” “Directive” is the poem in which Frost makes his way back to the crossroads—but as an approximation of himself, not as a version of Edward Thomas. Its a poem about the aftermath of choice: It is Frosts version of the “sigh. ” In exploring the domestic tragedies that are often considered to be sources for the poems central images, Mark Richardson argues, “it is not going too far to say that in ‘Di­rective Frost returns to the scene of the crime, so to speak, and that he has come here to ask, in light of the patently ‘liturgical qualities of the poem, to be shriven. ” Richardson then quotes Reuben Brower, one of Frosts old students, who claims “Directive” is a return “to the beginning of his life and his poetry, but it is a return after having taken one road rather than another”—an echo from “The Road Not Taken” that is revealing even if unintentional. Both poems rely on the image of an unreliable road that is imperfectly understood by its traveler. “Directive” con­tains a guide, true, but that guide “only has at heart your getting lost” and may be understood not just as the poet lead­ing the reader, but as a past version of the same traveler guid­ ing the current version. (Read this way, in the line “Back out of all this now too much for us, ” the “us” becomes a variant of the royal “we. ”) But the most important overlap between the two poems occurs in the hypnotic concluding lines of “Directive. ” The guide tells us that he has hidden “a broken drinking goblet like the Grail” so that “the wrong ones cant find it. So cant get saved, as Saint Mark says they mustnt. ” Frost is referring to Mark 4:11–12, in which Jesus explains why he speaks in parables: And he said unto them, Unto you it is given to know the mystery of the kingdom of God: but unto them that are without, all these things are done in parables: That seeing they may see, and not perceive; and hear­ing they may hear, and not understand; lest at anytime they should be converted, and their sins should be forgiven them. For Frost, these lines were equally applicable to poetry, which some people would simply never understand, and which even good readers needed to approach in the right way. A poem, then, becomes a way to separate an audience into factions. The same idea emerges in two ways in “The Road Not Taken. ” First, as discussed earlier, the speaker focuses solely on the amount of travel each road received (rather than on the roads relative steepness or narrowness and so forth) which means his selection between them involves separating himself from other people. The road isnt just a choice; its a choice premised on exclusion. Second, that choice is mir­rored in the larger subterfuges of the poem itself, in the way it encourages interpretations, only to undercut them, sepa­rating readers into those who thought they understood, oth­ers who thought those readers didnt understand, and so on in a nearly endless cycle. As Frost wrote to Louis Unter­meyer, “Ill bet not half a dozen people can tell who was hit and where he was hit by my Road Not Taken. ” But as weve seen, “who was hit and where he was hit” is nearly impossible to determine. This is because “The Road Not Taken” isnt a joke but a poem. A joke (or trick) has a right answer, but a poem only has answers that are better or worse—a point that is relevant to the most important con­nection between “Directive” and “The Road Not Taken. ” Recall the beginning of the latter poem: And be one traveler... And recall the conclusion of “Directive”: The poems final line is an overt reference to Frosts well­ known description of a successful poems ending as “a momentary stay against confusion. ” But why the word “whole”? And why “again”? The suggestion appears to be that the “you” of the poem, though previously one entity, has some­ how become divided. Divided, we might say, by the road taken. Divided when the process of choosing gives way to the fact of choice. From THE ROAD NOT TAKEN: FINDING AMERICA IN THE POEM EVERYONE LOVES AND ALMOST EVERYONE GETS WRONG. Used with permission of Penguin Press. Copyright 2015 by David Orr.

This is one of the best movies I've seen, but you should definitely read the book also. Had learnt it in 9th grade but still remembered Each lines Thank u for this video. Salma y Javier 👍🏼👏👏🏼👏🏼👏🏼👏🏼👏🏼.

Chị có thể sub bài hear me-sophia kameron đc k ạ.


I desire my teacher to explain me in such an easy manner

Das war immer noch bis heute mein Lieblings Musikstück. Grossen Dank an Dich. Du hast es geschrieben. Einfach das beste Musikstück das es je gab. Cover of Mountain Interval, copyright page, and page containing the poem "The Road Not Taken" by Robert Frost titl 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; 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, 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. 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. [1] " The Road Not Taken " is a well-known poem by Robert Frost, published in 1916 as the first poem in the collection Mountain Interval. Its central theme is the divergence of paths, literal yet also clearly figurative, although its interpretation is noted for being complex and ( like the road fork itself) potentially divergent. History [ edit] Frost spent the years 1912 to 1915 in England, where among his acquaintances was the writer Edward Thomas. Thomas and Frost became close friends and took many walks together. After Frost returned to New Hampshire in 1915, he sent Thomas an advance copy of "The Road Not Taken. Thomas took the poem seriously and personally, and it may have been significant in Thomas' decision to enlist in World War I. Thomas was killed two years later in the Battle of Arras. [2] Analysis [ edit] The Road Not Taken" is a narrative poem. It reads naturally or conversationally and begins as a kind of photographic depiction of a quiet moment in woods. It consists of four stanzas of 5 lines each. The first line rhymes with the third and fourth, and the second line rhymes with the fifth (ABAAB. The meter is basically iambic tetrameter, with each line having four two-syllable feet. Though in almost every line, in different positions, an iamb is replaced with an anapest. The variation of the rhythm gives naturalness, a feeling of thought occurring spontaneously, and it also affects the reader's sense of expectation. [3] In the only line that contains strictly iambs, the more regular rhythm supports the idea of a turning towards an acceptance of a kind of reality: Though as for that the passing there … " In the final line, the way the rhyme and rhythm work together is significantly different, and catches the reader off guard. [4] It is one of Frost's most popular works. Some have said that it is one of his most misunderstood poems, claiming that it is not simply a poem that champions the idea of "following your own path" but that the poem, they suggest, expresses some irony regarding that idea. [5] 1] Frost's biographer Lawrance Thompson suggests that the poem's narrator is "one who habitually wastes energy in regretting any choice made: belatedly but wistfully he sighs over the attractive alternative rejected. 6] Thompson also says that when introducing the poem in readings, Frost would say that the speaker was based on his friend Edward Thomas. In Frost's words, Thomas was "a person who, whichever road he went, would be sorry he didn't go the other. He was hard on himself that way. 7] Regarding the "sigh" that is mentioned in the last stanza, it may be seen as an expression of regret or of satisfaction, but there is significance in the difference between what the speaker has just said of the two roads, and what he will say in the future. [8] According to the biographer Lawrance Thompson, as Frost was once about to read the poem, he commented to his audience, You have to be careful of that one; it's a tricky poem—very tricky. perhaps intending to suggest the poem's ironic possibilities. [6] 9] A New York Times Sunday book review on Brian Hall's 2008 biography Fall of Frost states: Whichever way they go, they're sure to miss something good on the other path. 10] References [ edit] a b Robinson, Katherine. "Robert Frost: The Road Not Taken. Poetry Foundation. Retrieved 9 August 2016. ^ Hollis, Matthew (2011-07-29. Edward Thomas, Robert Frost and the road to war. The Guardian. London. Retrieved 8 August 2011. ^ White, James Boyd (2009. Living Speech: Resisting the Empire of Force. Princeton University Press. ISBN   9781400827534. p. 98 ^ Timmerman, John H. (2002. Robert Frost: The Ethics of Ambiguity. Bucknell University Press. ISBN   9780838755327. 71 ^ Sternbenz, Christina. "Everyone Totally Misinterprets Robert Frost's Most Famous Poem. Business Insider. Retrieved 13 June 2015. ^ a b Thompson, Lawrance (1959. Robert Frost. Minnesota: University of Minnesota Press. ^ Thompson, Lawrance Roger; Winnick, R. H. (1970. Robert Frost: The early years, 1874-1915. Holt, Rinehart and Winston. p. 546. ^ Finger, Larry L. (November 1978. Frost's "The Road Not Taken" A 1925 Letter Come to Light. American Literature. 50 (3) 478–479. doi: 10. 2307/2925142. JSTOR   2925142. ^ Kearns, Katherine (2009. Cambridge Studies in American Literature and Culture. 77. Cambridge University Press. ISBN   9780521109987. 73 ^ Miles, Jonathan (May 11, 2008. All the Difference. New York Times. Retrieved June 13, 2015. External links [ edit] The Road Not Taken at 3 audio readings of The Road Not Taken Information about the poem and about Frost's life Critical essays on "The Road Not Taken" The Most Misread Poem in America " by David Orr, The Paris Review, September 11, 2015.

ReadWorks. What an old man. Thank you thank you thank you for this video! This is one of my favority poems, specifically because it's so misunderstood. Also, the repitiion of I in the last stanza (and I- I took the one. seems to point to the folly. Everything prior focuses on the road and the choice, and then the end focuses on the writer and his seemingly wise decision. Jacob- your sound is divinity. Continue to inspire us all. I am very moved at this moment. Truly she needs an Oscar. Amy Adams is such a marvelous actress. The Roads Not Taken Watch Here. “The whitest kids you know” 😂 I died. Everyone knows Robert Frosts “The Road Not Taken”—and almost everyone gets it wrong. Frost in 1913. From The Road Not Taken: Finding America in the Poem Everyone Loves and Almost Everyone Gets Wrong, a new book by David Orr. A young man hiking through a forest is abruptly confronted with a fork in the path. He pauses, his hands in his pockets, and looks back and forth between his options. As he hesitates, images from possible futures flicker past: the young man wading into the ocean, hitchhiking, riding a bus, kissing a beautiful woman, working, laughing, eating, running, weeping. The series resolves at last into a view of a different young man, with his thumb out on the side of a road. As a car slows to pick him up, we realize the driver is the original man from the crossroads, only now hes accompanied by a lovely woman and a child. The man smiles slightly, as if confident in the life hes chosen and happy to lend that confidence to a fellow traveler. As the car pulls away and the screen is lit with gold—for its a commercial weve been watching—the emblem of the Ford Motor Company briefly appears. The advertisement Ive just described ran in New Zealand in 2008. And it is, in most respects, a normal piece of smartly assembled and quietly manipulative product promotion. But there is one very unusual aspect to this commercial. Here is what is read by a voice-over artist, in the distinctive vowels of New Zealand, as the young man ponders his choice: 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; 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, 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. 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. It is, of course, “The Road Not Taken” by Robert Frost. In the commercial, this fact is never announced; the audience is expected to recognize the poem unaided. For any mass audience to recognize any poem is (to put it mildly) unusual. For an audience of car buyers in New Zealand to recognize a hundred-year-old poem from a country eight thousand miles away is something else entirely. But this isnt just any poem. Its “The Road Not Taken, ” and it plays a unique role not simply in American literature, but in American culture —and in world culture as well. Its signature phrases have become so ubiquitous, so much a part of everything from coffee mugs to refrigerator magnets to graduation speeches, that its almost possible to forget the poem is actually a poem. In addition to the Ford commercial, “The Road Not Taken” has been used in advertisements for Mentos, Nicorette, the multibillion-dollar insurance company AIG, and the job-search Web site, which deployed the poem during Super Bowl XXXIV to great success. Its lines have been borrowed by musical performers including (among many others) Bruce Hornsby, Melissa Etheridge, George Strait, and Talib Kweli, and its provided episode titles for more than a dozen television series, including Taxi, The T w i l i g h t Zone, and B a t t le s t a r Galactica, as well as lending its name to at least one video game, Spry Foxs Road Not Taken (“a rogue-like puzzle game about surviving lifes surprises”. As one might expect, the influence of “The Road Not Taken” is even greater on journalists and authors. Over the past thirty-five years alone, language from Frosts poem has appeared in nearly two thousand news stories worldwide, which yields a rate of more than once a week. In addition, “The Road Not Taken” appears as a title, subtitle, or chapter heading in more than four hundred books by authors other than Robert Frost, on subjects ranging from political theory to the impending zombie apocalypse. At least one of these was a massive international best seller: M. Scott Pecks self-help book The Road Less Traveled: A New Psychology of Love, Traditional Values and Spiritual Growth, which was originally published in 1978 and has sold more than seven million copies in the United States and Canada. Given the pervasiveness of Frosts lines, it should come as no surprise that the popularity of “The Road Not Taken” appears to exceed that of every other major twentieth-century American poem, including those often considered more central to the modern (and modernist) era. Admittedly, the popularity of poetry is difficult to judge. Poems that are attractive to educators may not be popular with readers, so the appearance of a given poem in anthologies and on syllabi doesnt necessarily reveal much. And book sales indicate more about the popularity of a particular poet than of any individual poem. But there are at least two reasons to think that “The Road Not Taken” is the most widely read and recalled American poem of the past century (and perhaps the adjective “American” could be discarded. The first is the Favorite Poem Project, which was devised by former poet laureate Robert Pinsky. Pinsky used his public role to ask Americans to submit their favorite poem in various forms; the clear favorite among more than eighteen thousand entries was “The Road Not Taken. ” The second, more persuasive reason comes from Google. Until it was discontinued in late 2012, a tool called Google Insights for Search allowed anyone to see how frequently certain expressions were being searched by users worldwide over time and to compare expressions to one another. Google normalized the data to account for regional differences in population, converted it to a scale of one to one hundred, and displayed the results so that the relative differences in search volume would be obvious. Here is the result that Google provided when “The Road Not Taken” and “Frost” were compared with several of the best-known modern poems and their authors, all of which are often taught alongside Frosts work in college courses on American poetry of the first half of the twentieth century: SEARCH TERMS, SCALED WORLDWIDE SEARCH VOLUME “Road Not Taken” + “Frost” 48 “Waste Land” + “Eliot” 12 “Prufrock ” + “Eliot” “This Is Just to Say” + “Carlos Williams” 4 “Station of the Metro” + “Pound” 2 According to Google, then, “The Road Not Taken” was, as of mid-2012, at least four times as searched as the central text of the modernist era— The Waste Land —and at least twenty-four times as searched as the most anthologized poem by Ezra Pound. By comparison, this is even greater than the margin by which the term “college football ” beats “archery” and “water polo. ” Given Frosts typically prickly relationships with almost all of his peers (he once described Ezra Pound as trying to become original by “imitating somebody that hasnt been imitated recently”) one can only imagine the pleasure this news would have brought him. But as everyone knows, poetry itself isnt especially widely read, so perhaps being the most popular poem is like being the most widely requested salad at a steak house. How did “The Road Not Taken” fare against slightly tougher competition? Better than you might think: 47 “Like a Rolling Stone” + “Dylan” 19 “Great Gatsby ” + “Fitzgerald” 17 “Death of a Salesman” + “Miller” 14 “Psycho” + “Hitchcock” The results here are even more impressive when you consider that “The Road Not Taken” is routinely misidentified as “The Road Less Traveled, ” thereby reducing the search volume under the poems actual title. (For instance, a search for “Frosts poem the road less traveled” produces more than two hundred thousand results, none of which would have been counted above. Frost once claimed his goal as a poet was “to lodge a few poems where they will be hard to get rid of ”; with “The Road Not Taken, ” he appears to have lodged his lines in granite. On a word-for-word basis, it may be the most popular piece of literature ever written by an American. * And almost everyone gets it wrong. This is the most remarkable thing about “The Road Not Taken”—not its immense popularity (which is remarkable enough) but the fact that it is popular for what seem to be the wrong reasons. Its worth pausing here to underscore a truth so obvious that it is often taken for granted: Most widely celebrated artistic projects are known for being essentially what they purport to be. When we play “White Christmas” in December, we correctly assume that its a song about memory and longing centered around the image of snow falling at Christmas. When we read Joyces Ulysses, we correctly assume that its a complex story about a journey around Dublin as filtered through many voices and styles. A cultural offering may be simple or complex, cooked or raw, but its audience nearly always knows what kind of dish is being served. Frosts poem turns this expectation on its head. Most readers consider “The Road Not Taken” to be a paean to triumphant self-assertion (“I took the one less traveled by”) but the literal meaning of the poems own lines seems completely at odds with this interpretation. The poems speaker tells us he “shall be telling, ” at some point in the future, of how he took the road less traveled by, yet he has already admitted that the two paths “equally lay / In leaves” and “the passing there / Had worn them really about the same. ” So the road he will later call less traveled is actually the road equally traveled. The two roads are interchangeable. According to this reading, then, the speaker will be claiming “ages and ages hence” that his decision made “all the difference” only because this is the kind of claim we make when we want to comfort or blame ourselves by assuming that our current position is the product of our own choices (as opposed to what was chosen for us or allotted to us by chance. The poem isnt a salute to can-do individualism; its a commentary on the self-deception we practice when constructing the story of our own lives. “The Road Not Taken” may be, as the critic Frank Lentricchia memorably put it, “the best example in all of American poetry of a wolf in sheeps clothing. ” But we could go further: It may be the best example in all of American culture of a wolf in sheeps clothing. In this it strongly resembles its creator. Frost is the only major literary figure in American history with two distinct audiences, one of which regularly assumes that the other has been deceived. The first audience is relatively small and consists of poetry devotees, most of whom inhabit the art forms academic subculture. For these readers, Frost is a mainstay of syllabi and seminars, and a regular subject of scholarly articles (though he falls well short of inspiring the interest that Ezra Pound and Wallace Stevens enjoy. Hes considered bleak, dark, complex, and manipulative; a genuine poets poet, not a historical artifact like Longfellow or a folk balladeer like Carl Sandburg. While Frost isnt the most esteemed of the early twentieth-century poets, very few dedicated poetry readers talk about him as if he wrote greeting card verse. Then there is the other audience. This is the great mass of readers at all age levels who can conjure a few lines of “The Road Not Taken” and “Stopping by Woods on a Snowy Evening, ” and possibly “Mending Wall ” or “Birches, ” and who think of Frost as quintessentially American in the way that “amber waves of grain” are quintessentially American. To these readers (or so the first audience often assumes) he isnt bleak or sardonic but rather a symbol of Yankee stoicism and countrified wisdom. This audience is large. Indeed, the search patterns of Google users indicate that, in terms of popularity, Frosts true peers arent Pound or Stevens or Eliot, but rather figures like Pablo Picasso and Winston Churchill. Frost is not simply that rare bird, a popular poet; he is one of the best-known personages of the past hundred years in any cultural arena. In all of American history, the only writers who can match or surpass him are Mark Twain and Edgar Allan Poe, and the only poet in the history of English-language verse who commands more attention is William Shakespeare. This level of recognition makes poetry readers uncomfortable. Poets, we assume, are not popular—at least after 1910 or so. If one becomes popular, then either he must be a second-tier talent catering to mass taste (as Sandburg is often thought to be) or there must be some kind of confusion or deception going on. The latter explanation is generally applied to Frosts celebrity. As Robert Lowell once put it, “Robert Frost at midnight, the audience gone / to vapor, the great act laid on the shelf in mothballs. ” The “great act” is for “the audience” of ordinary readers, but his true admirers know better. He is really a wolf, we say, and it is only the sheep who are fooled. Its an explanation that Frost himself sometimes encouraged, much as he used to boast about the trickiness of “The Road Not Taken” in private correspondence. (“Ill bet not half a dozen people can tell who was hit and where he was hit by my Road Not Taken, ” he wrote to his friend Louis Untermeyer. In this sense, the poem is emblematic. Just as millions of people know its language about the road “less traveled” without understanding what that language is actually saying, millions of people recognize its author without understanding what that author was actually doing. But is this view of “The Road Not Taken” and its creator entirely accurate? Poems, after all, arent arguments—they are to be interpreted, not proven, and that process of interpretation admits a range of possibilities, some supported by diction, some by tone, some by quirks of form and structure. Certainly its wrong to say that “The Road Not Taken” is a straightforward and sentimental celebration of individualism: this interpretation is contradicted by the poems own lines. Yet its also not quite right to say that the poem is merely a knowing literary joke disguised as shopworn magazine verse that has somehow managed to fool millions of readers for a hundred years. A role too artfully assumed ceases to become a role and instead becomes a species of identity—an observation equally true of Robert Frost himself. One of Frosts greatest advocates, the scholar Richard Poirier, has written with regard to Frosts recognition among ordinary readers that “there is no point trying to explain the popularity away, as if it were a misconception prompted by a pose. ” By the same token, there is no point in trying to explain away the general misreadings of “The Road Not Taken, ” as if they were a mistake encouraged by a fraud. The poem both is and isnt about individualism, and it both is and isnt about rationalization. It isnt a wolf in sheeps clothing so much as a wolf that is somehow also a sheep, or a sheep that is also a wolf. It is a poem about the necessity of choosing that somehow, like its author, never makes a choice itself—that instead repeatedly returns us to the same enigmatic, leaf-shadowed crossroads. From The Road Not Taken: Finding America in the Poem Everyone Loves and Almost Everyone Gets Wrong by David Orr. Reprinted by arrangement with The Penguin Press, an imprint of Penguin Publishing Group, a division of Penguin Random House LLC. Copyright 2015 by David Orr. David Orr is the poetry columnist for the  New York Times Book Review. He is the winner of the Nona Balakian Prize from the National Book Critics Circle, and his writing has appeared in  The New Yorker,  Poetry, Slate, and  The Yale Review.

Autoplay next video 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; 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, 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. 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.

And that has made all the difference... You are so talented... just beautiful! I am happy that I discovered you on youtube and I wish you a life full of music and happiness. Bro also Thanku for solve my problems. 🙏🙏. It seems Simon records videos 16 hours a day 😂 he's everywhere. He saw her from the bottom of the stairs Before she saw him. She was starting down, Looking back over her shoulder at some fear. She took a doubtful step and then undid it To raise herself and look again. He spoke Advancing toward her: What is it you see From up there always- for I want to know. ' She turned and sank upon her skirts at that, And her face changed from terrified to dull. He said to gain time: What is it you see, Mounting until she cowered under him. 'I will find out now- you must tell me, dear. ' She, in her place, refused him any help With the least stiffening of her neck and silence. She let him look, sure that he wouldn't see, Blind creature; and awhile he didn't see. But at last he murmured, Oh. and again, Oh. ' What is it- what. she said. 'Just that I see. ' You don't. she challenged. 'Tell me what it is. ' The wonder is I didn't see at once. I never noticed it from here before. I must be wonted to it- that's the reason. The little graveyard where my people are! So small the window frames the whole of it. Not so much larger than a bedroom, is it? There are three stones of slate and one of marble, Broad-shouldered little slabs there in the sunlight On the sidehill. We haven't to mind those. But I understand: it is not the stones, But the child's mound- Don't, don't, don't, don't. she cried. She withdrew shrinking from beneath his arm That rested on the bannister, and slid downstairs; And turned on him with such a daunting look, He said twice over before he knew himself: Can't a man speak of his own child he's lost? 'Not you! Oh, where's my hat? Oh, I don't need it! I must get out of here. I must get air. I don't know rightly whether any man can. ' Amy! Don't go to someone else this time. Listen to me. I won't come down the stairs. ' He sat and fixed his chin between his fists. 'There's something I should like to ask you, dear. ' You don't know how to ask it. ' Help me, then. ' Her fingers moved the latch for all reply. 'My words are nearly always an offense. I don't know how to speak of anything So as to please you. But I might be taught I should suppose. I can't say I see how. A man must partly give up being a man With women-folk. We could have some arrangement By which I'd bind myself to keep hands off Anything special you're a-mind to name. Though I don't like such things 'twixt those that love. Two that don't love can't live together without them. But two that do can't live together with them. ' She moved the latch a little. 'Don't- don't go. Don't carry it to someone else this time. Tell me about it if it's something human. Let me into your grief. I'm not so much Unlike other folks as your standing there Apart would make me out. Give me my chance. I do think, though, you overdo it a little. What was it brought you up to think it the thing To take your mother- loss of a first child So inconsolably- in the face of love. You'd think his memory might be satisfied- There you go sneering now! 'I'm not, I'm not! You make me angry. I'll come down to you. God, what a woman! And it's come to this, A man can't speak of his own child that's dead. ' You can't because you don't know how to speak. If you had any feelings, you that dug With your own hand- how could you. his little grave; I saw you from that very window there, Making the gravel leap and leap in air, Leap up, like that, like that, and land so lightly And roll back down the mound beside the hole. I thought, Who is that man? I didn't know you. And I crept down the stairs and up the stairs To look again, and still your spade kept lifting. Then you came in. I heard your rumbling voice Out in the kitchen, and I don't know why, But I went near to see with my own eyes. You could sit there with the stains on your shoes Of the fresh earth from your own baby's grave And talk about your everyday concerns. You had stood the spade up against the wall Outside there in the entry, for I saw it. ' I shall laugh the worst laugh I ever laughed. I'm cursed. God, if I don't believe I'm cursed. ' I can repeat the very words you were saying. "Three foggy mornings and one rainy day Will rot the best birch fence a man can build. " Think of it, talk like that at such a time! What had how long it takes a birch to rot To do with what was in the darkened parlor. You couldn't care! The nearest friends can go With anyone to death, comes so far short They might as well not try to go at all. No, from the time when one is sick to death, One is alone, and he dies more alone. Friends make pretense of following to the grave, But before one is in it, their minds are turned And making the best of their way back to life And living people, and things they understand. But the world's evil. I won't have grief so If I can change it. Oh, I won't, I won't! 'There, you have said it all and you feel better. You won't go now. You're crying. Close the door. The heart's gone out of it: why keep it up. Amy! There's someone coming down the road! 'You- oh, you think the talk is all. I must go- Somewhere out of this house. How can I make you- If- you- do. She was opening the door wider. 'Where do you mean to go? First tell me that. I'll follow and bring you back by force. I will.

DOwNload HDQ Movie Online The Roads Not Taken Watch The Roads Online Gorillavid…. If you watch carefully, Gru starts to look like Steve Carell. 😆. CREDIT Bruce Weber of The Times is riding his bike from Portland, Ore. to New York City and blogging about it as he goes. He writes that on the road in Montana, a lone cyclist can feel small. Go to related series on the In Transit blog » Were doing something new with our Poetry Pairings starting today. Were still working with the Poetry Foundation to choose a poem and match it with a Times article. But this year, instead of using the works from the American Life in Poetry series, were going to alternate classic poems with contemporary ones each week. Were beginning, today, with perhaps the most-taught American poem there is: Robert Frosts “The Road Not Taken. ” And yes, were putting it together with a Times piece about a journey in which literal and figurative roads are taken and not taken. Our challenge to you? To find other Times articles, photos, essays or opinion pieces with which this familiar poem might also be matched. What do you think “The Road Not Taken, ” a poem published in 1916, still has to say? What echoes of that can you find in Times accounts of our world today? Tell us here. Poem Decades before Elizabeth Alexander read her inaugural poem for President Obama in 2009, Robert Frost was the first poet to take part in a presidential inauguration— he read when President Kennedy was sworn into office in 1961. Robert Frost is one of Americas best-known poets, and his poem “The Road Not Taken, ” with its memorable closing lines, is often quoted. — Poetry Foundation The Road Not Taken By Robert Frost 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; 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, And both that morning equally lay In leaves no step had trodden black. Oh, I marked the first for another day! Yet knowing how way leads on to way I doubted if I should ever come back. 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. Times Selection Excerpt In his “Life Is a Wheel” series, Bruce Weber of The Times is riding his bicycle across the United States and blogging about it. In his post “The Loneliness of the Long-Distance Rider, ” he writes from Eureka, Mont. : Im a little homesick. Is it homesickness? Maybe loneliness? Anxiety? Whatever it is, Ive been feeling a little sulky the last few days, less the intrepid traveler and more the kid at camp whos had enough and wants to go home. Im battling that, more than headwinds and hills. The question is why. I lost a friend to cancer a couple of weeks ago, and Im sure thats part of it, but this doesnt feel like grief. Rather, Im blaming it on the solo-ness of this adventure and the sense that the fortitude of any relatively sociable person (like me) is at least partly a function of the nearness and support of, well, those we want to be near and supported by. We can get along fine for a while on our own, but without the fuel of a kiss, a scratch behind the ears, a drink and a laugh with our pals, our self-reliance begins to dissipate like the juice in a cellphone. … Anyway, one thing has occurred to me; Im in the Rockies now, and the landscape is pretty intimidating, the roads slicing between mountains and climbing and dipping along the shores of rushing rivers and majestic lakes. In such a setting, a lone cyclist feels awfully small — and though that kind of humbling can be a thrill, I admit it can make me feel vulnerable, too, especially in the early morning when the air is crisp and chilly and the silence on the highway is broken by a rumbling double trailer truck speeding past at 70 miles an hour. (It isnt cheering that the Montana roadsides are dotted with white crosses, some wreathed in flowers, denoting highway deaths. Putting yourself out in that environment at the beginning of each day takes some self-persuasion and some nervously applied discipline; its easier if you have company. I realize this is a kind of conditioning; your will has to get in shape for a venture like this as much as your legs and your lungs. After reading the poem and article, tell us what you think — or suggest other Times content that could be matched with the poem instead. You can also visit the Poetry Foundation site to take a virtual poetry tour of Washington, D. C. (the stop on presidential inaugurals features Frost) and find more resources about Frost. See more about the collaboration and ideas for using any weeks pairing for teaching and learning ».

The Roads Not Taken Theatrical release poster Directed by Sally Potter Produced by Christopher Sheppard Written by Sally Potter Starring Javier Bardem Elle Fanning Salma Hayek Laura Linney Music by Sally Potter Cinematography Robbie Ryan [1] Edited by Sally Potter Jason Rayton Emilie Orsini Production companies BBC Films HanWay Films British Film Institute Ingenious Media Chimney Pot Sverige AB Adventure Pictures Film i Väst Distributed by Bleecker Street Focus Features Release date February 26, 2020 ( Berlin) March 13, 2020 (United States) May 1, 2020 (United Kingdom) Running time 85 minutes [2] Country United States United Kingdom Sweden Language English The Roads Not Taken is an upcoming British-American drama film written and directed by Sally Potter. It stars Javier Bardem, Elle Fanning, Salma Hayek and Laura Linney. It will have its world premiere at the Berlin International Film Festival on February 26, 2020. It is scheduled to be released on March 13, 2020, by Bleecker Street. Cast [ edit] Javier Bardem as Leo Elle Fanning as Molly Salma Hayek as Dolores Branka Katić as Xenia Laura Linney as Rita Production [ edit] In December 2018, it was announced Javier Bardem, Elle Fanning, Salma Hayek and Laura Linney had joined the cast of the film, with Sally Potter directing and writing from a screenplay she wrote. Christopher Sheppard will produce under his Adventure Pictures banner, while BBC Films, HanWay Films, British Film Institute, Ingenious Media, Chimney Pot, Sverige AB, Adventure Pictures and Film i Väst will produce. Bleecker Street will distribute. Production began that same month. [3] Release [ edit] In September 2019, it was announced Focus Features had acquired international distribution rights to the film outside of the U. S. [4] It will have its world premiere at the Berlin International Film Festival on February 26, 2020. [5] 6] It is scheduled to be released in the United States on March 13, 2020. [7] References [ edit] "Robbie Ryan" PDF. Gersh. Retrieved March 27, 2019. ^ The Roads Not Taken. Berlin International Film Festival. Retrieved February 11, 2020. ^ Grater, Tom (December 10, 2018. Javier Bardem, Elle Fanning, Salma Hayek to star in Sally Potter drama. Screen International. Retrieved December 10, 2018. ^ Wiseman, Andreas (September 18, 2019. Focus Pre-Buys Key Int'l Territories On Sally Potter Drama 'Molly' Starring Javier Bardem & Elle Fanning; HanWay Closes Most Of World. Deadline Hollywood. Retrieved September 18, 2019. ^ The 70th Berlinale Competition and Further Films to Complete the Berlinale Special. Berlinale. Retrieved 29 January 2020. ^ Berlin Competition Lineup Revealed: Sally Potter, Kelly Reichardt, Eliza Hittman, Abel Ferrara. Variety. Retrieved 29 January 2020. ^ Lang, Brent (October 25, 2019. Bleecker Street Buys Harvey Weinstein-Inspired Drama 'The Assistant. Retrieved October 25, 2019. External links [ edit] The Roads Not Taken on IMDb.

SG-1 Season 10 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 Season 9 "The Road Not Taken" is the thirteenth episode of the tenth season of Stargate SG-1. Synopsis Edit While experimenting on Arthur's Mantle, a freak accident sends Carter into an alternate reality where her alternate self is still a Major and the Ori are planning on invading Earth. Carter attempts to get back to her own reality but soon learns that it may not be possible. Plot Edit Lt. Colonel Samantha Carter is experimenting with Merlin 's Arthur's Mantle in one of Stargate Command 's isolation rooms in hopes of creating a larger phase-shifted field. Lt. Colonel Cameron Mitchell enters and informs her that a recent sighting of the MIA Dr. Daniel Jackson was a false alarm. Mitchell asks her to go to lunch with Teal'c and himself so they can discuss the mission report. Carter wants to run one more test, and tells Mitchell that he can watch from the observation room. Carter activates the device and phases. While phase-shifted, she hears a strange sound. The device emits a strange glow which quickly encompasses the phase-shifted isolation room. As the glow subsides Carter reappears to the sound of blaring sirens. Mitchell is not in the observation room, which now looks a bit different, and there are signs of an explosion on the floor. Carter lowers the force field as Dr. Bill Lee enters. He asks " Major Carter " if she is all right. Carter is further puzzled when Major Evan Lorne enters the room. Upon asking him why he is here and not on Atlantis, he says he has no idea what she's talking about, and mentions that he is the "leader of SG-1. " Carter suspects she has somehow entered an Alternate reality. She asks to see the footage of the incident in the lab. Major General George S. Hammond, watching through video link, tells Lee to show her the footage. The video depicts Major Carter's power capacitor experiment. A sudden power spike in the experiment leads to an explosion and results in loss of the video feed. It is at that point that Lee entered the room and found Carter. Lee explains that Major Carter was drawing energy from parallel universes and storing them in power capacitors in order to power the Ancient Control chair. The explosion resulted in the death of Major Carter and, combined with Carter's phase-shifting experiment, resulted in her transfer to this parallel universe. In the universe Carter is now in, when Anubis attacked Earth three years earlier, the President of the United States was forced to reveal the existence of the Stargate Program to the world. A month ago the Ori attacked. The lone Ori warship was destroyed by the Antarctic outpost in Antarctica, but the Zero Point Module was depleted. Reports indicate five Ori warships are on course to reach Earth in five days. They need Carter's help to finish Major Carter's work in order to power the Chair. Carter also discovers that the Carter of the other universe used to be married to Dr. Rodney McKay, who is a dot com millionaire. Vala Mal Doran is imprisoned at Area 51. Atlantis has never been discovered. Daniel is missing still, and Lorne doesn't know where "former 302 pilot" Lt. Colonel Cameron Mitchell is. Also in this reality, the Tau'ri have cut ties with the Jaffa and other allies, and become isolationist. Realizing Major Carter's work is incomplete and she is unable to catch up in time, Carter decides to work on extending the range of her phase device. Carter tells them she was working on the device in her world to hide Earth from the Ori. Without the ZPM, she needs an alternate source of power. Henry Landry, the President of the United States, whose office is now part of the Cheyenne Mountain facilities, promises Carter that she will get all the power she needs. Carter estimates her needs are about 80% of the entire United States' power grid. Landry already worked up a system to draw power from the entire U. S. power grid. After a few days of feverishly working on Earth's defense, the Ori ships appear. Energy is redirected to the device and the United States plunges into darkness as a result. The power level increases to 93% before time runs out, and Carter activates the phase-cloak. Earth vanishes in a flash of light. The Ori ships, assuming Earth is just cloaked, open fire but hit nothing, while the SGC folks watch the Ori weapons' rays cascading through them harmlessly. Landry congratulates Carter on a job well done, and then, with no warning, ushers her into a press room, where her victory is publicized and celebrated. Shortly thereafter, Carter attends a celebratory party given by the President. But it is interrupted by a protester chanting “No security without freedom. ” Security guards armed with a Rod of Anguish neutralize him. Landry and Carter are beamed onto Prometheus, which the president has commandeered as " Air Force One. Carter learns the President instituted martial law and is disliked by many people. Later, at the SGC, Carter watches the news and sees an F-302 fighter-interceptor bombing an Irish village. Hammond asserts that they were bombing terrorists. Angry, Carter accuses him of using the 302's against political enemies. Hammond replies that the “threat is still out there” to which Carter replies “thats the problem; it always will be”. Alternate Rodney McKay. Wanting to return home, Carter seeks out McKay for help with Major Carter's inter-universe bridge, since he and his sister worked on it in her universe. They have a humorous conversation, in which Rodney thinks she's there to tell him that she is a lesbian. Meanwhile, Hammond and Landry have a brief discussion, agree they cannot afford to lose Carter, nor can they let her knowledge of advanced technology disappear. During the discussion, Landry indicates he has always hated politicians, but Hammond adds that he had to do it (possibly means that US was pushed into a military rule under threat of anarchy. Lee finds the device she described, in the same cave in Glastonbury that it was in Carter's universe, and tells Landry. Lee informs him they don't know anything about it, but Carter would. Carter returns to the SGC to find her equipment has not returned. Landry tells her the timing is not good for her to go back, and she learns that Landry has suspended all democratic elections and replaced them with a plebiscite. Carter realizes that Landry may never let her go. Carter visits Mitchell, now in a wheelchair and living in a dilapidated building; he is a depressed, bitter alcoholic and his apartment is strewn with garbage. After the dogfight over Antarctica, the wounded Mitchell was used as a tool to boost national morale. When he became troubled by the policies of the government and would no longer play along with their propaganda, they punished him by dropping him, and, no longer with access to good medical care, his condition worsened. He warns Carter about the price of non-compliance with the government. Carter spots a black car with tinted windows on the street outside Mitchell's building. She calls Landry's chief of staff, Charlie, and tells him she'll play ball. Landry arranges for Carter to deliver a live televised interview. During her speech, Carter states that as Presidential advisor she will push for the restoration of civil liberties. Charlie orders the broadcaster to cut the transmission, and mention of her appearance is censored in print. Afterwards, Carter is attacked and rendered unconscious by Secret Service Agents. She awakens on Air Force One with Landry. In a talk with her he says that public relations and the phase technology are important, that her world still has freedom and the Stargate program is one of the greatest secrets that the government has ever known. She then talks about General Hank Landry and how he would not allow the rest of the galaxy to fall to the Ori. Carter returns to the SGC to discover that McKay is now working on the device discovered at Glastonbury, with an implication that he was forced to do so, and that Landry has realized he'll have more control over McKay, but that Carter will be too much trouble to control. McKay has also replaced Carter as special adviser to the President. McKay informs her that they are going to be allowed to build the inter-universe bridge to send her home. Carter tells McKay to nudge the president about galactic threat. Back in Carter's world, Dr. Bill Lee uses a sound device to scan the isolation room. Carter suddenly reappears behind him in a flash of light and goes unnoticed until she says his name. Back in her lab, Carter talks with Vala, Tealc and Mitchell. She has been gone for two weeks and no information about Daniel has surfaced. The others embarrassingly say that, thinking she was stuck while phased, they had been taking turns keeping her company, talking with what turned out to be an empty room, for hours at a time. Vala gives her a hug. Appearances Edit Appearances for The Road Not Taken Locations Antarctica (mentioned) Antarctic outpost (mentioned) Area 51, Nevada Atlantis (mentioned) Colorado Springs, Colorado Stargate Command Astrophysics Lab Briefing Room Embarkation room General's Office Stargate Command research labs Stargate Operations room Fort Knox, Kentucky (mentioned) Glastonbury, England (mentioned) Avalon (mentioned) Idaho (mentioned) Ireland (mentioned) P4X-650 (mentioned) Pegasus (mentioned) Russia (mentioned) Washington D. C. Events Great Enlightenment Ori attack on Alternate Earth Items Alternate reality Ancient crystal power cell Arthur's Mantle Champagne Cigarette Coffee Control chair Invisibility device (mentioned) M Theory (mentioned) Martial law (mentioned) Matter bridge Ori energy beam weapon Rod of Anguish Sparring (mentioned) Zat'nik'tel Zero Point Module (mentioned) Vehicles BC-304 Daedalus F-302 fighter-interceptor Ori warship Prometheus Sentient Species Ancients (mentioned) Goa'uld (mentioned) Jaffa Ori (mentioned) Prior Sodan (mentioned) Tau'ri Organizations IWN news network! nside Access Secret Service Stargate Program SG-1 System Lord (mentioned) United States Air Force United States Congress Mentioned Anubis Dr. Daniel Jackson Jeannie Miller MSgt. Sylvester Siler Notable Quotes Edit Lorne: I'm not quite sure how to explain this, sir, but there's been an accident. It's Sam. She claims she's not the Major Carter we know. Hammond: What's that supposed to mean? Lorne: She says she's from a parallel universe. Carter: There must be some reason why I was brought here, of all places. I need to know what was happening in that lab. Lorne: I'm not authorized to give you that information. Carter: Maybe I could talk to Daniel. Is he here? Lorne: Dr. Jackson was captured by the forces of the Ori several weeks ago. Carter: Okay. What about Colonel Mitchell? Cameron Mitchell. Lorne: The 302 pilot, went down over Antarctica? Carter: That's right. Is he here? Lorne: I have no idea where he is. The last I heard he quit the military. Carter: Teal'c? Vala? Lorne: Teal'c went back to the Jaffa several years ago, and if you're talking about Vala Mal Doran, I hate to break it to you but she is currently occupying a cell at Area 51. Care to take a stab at anyone else? Carter: The General Hammond that I know is retired from service. Hammond: Well then he's a lucky man. Hammond: You weren't here for the riots. You didn't see American citizens shooting each other over food, water and gasoline. Hank Landry brought us back from the brink of chaos. Carter: That was three years ago. Hammond: The threat is still out there! Carter: That's the problem. It always will be. Vala: I'm bidding for a timeshare on eBay. (she rushes out, only to rush in a moment later) Welcome back, Samantha. We really did miss you. Carter: Thank you. It's good to be home. Notes Edit The piano music playing at the reception for Lt. Colonel Samantha Carter and President Henry Landry, prior to the protester's invasion, is the Stargate SG-1 theme in a simple melody. The Irish Prime Minister is mentioned. Technically, the Irish head of government is called "Taoiseach" pronounced "TEE-shock. His role is analogous to that of a Prime Minister in other countries that have a fused legislative and executive (such as the Westminster system) and he is often referred to as such in international media. The title of this episode is the same as a poem by Robert Frost. It is one of two episodes in the Stargate canon with a title referring to a poem by Robert Frost, the other one being the Stargate: Atlantis episode " Before I Sleep. The title of this episode is an allusion to the original script of " Lost City, Part 2. in which the Stargate program would have been made public following Anubis ' attack on Earth. When an eighth season of Stargate SG-1 was confirmed this part of the story was cut to keep options open for the following season. This episode shows a glimpse of what could have been, the road not taken by the writers. The title of this episode is also the same as the seventh episode of Season 2 of MacGyver. This is the second and final appearance of Major Evan Lorne in Stargate SG-1, his first appearance being in the season 7 episode " Enemy Mine. This is one of four Stargate episodes to feature a Dr. Rodney McKay from an alternate reality, the others being " McKay and Mrs. Miller. The Daedalus Variations. though only in the form of a corpse) and " Vegas. This episode marks the final appearance of Major General George S. Hammond on the series; he had last appeared in " 200. Early drafts of the script had Henry Hayes as President of the United States, but William Devane was unavailable. Because it was felt that the President needed to be a darker version of a character familiar to Carter, Henry Landry took that role with Hammond commanding Stargate Command in the final script. This episode features the Prometheus functioning as Air Force One in the alternate reality. In the "prime" reality, it was destroyed in Season 9's " Ethon. The project which the Major Carter of the alternate reality was working on to power the Ancient Control chair before being killed and being replaced by Colonel Carter is similar to " Project Arcturus " which the Ancients were working on in Pegasus. Trinity. and the Zero point energy project being worked on by McKay, Jeannie Miller and the Atlantis team in " McKay and Mrs. Miller. Based on the comments of the alternate Major General George S. Hammond, this reality apparently diverged from the one we know during the events of " Lost City, Part 2. with SG-1 being unable to discover the Zero Point Module in time to fight off Anubis ' forces without alerting the rest of the world. Given the position that he was in at the time that "Lost City" took place, it would suggest that this world's Colonel Jack O'Neill either died from the Ancient knowledge or is still in stasis in the Antarctic outpost but this is uncertain. The episode takes place over the course of two weeks. Carter refers to the events of " Ethon. Line in the Sand " and the Stargate: Atlantis episode " McKay and Mrs. Miller. Given that Vala was imprisoned, it was most likely done after the events of " Prometheus Unbound. meaning that Adria never existed in this universe. During the meeting of Carter with the alternative Hammond, it is confirmed that Lt. General George S. Hammond from our reality is retired. This episode is Amanda Tapping 's 200th episode. Michael Shanks ( Dr. Daniel Jackson) does not appear in this episode. This is the last of four episodes of Season 10 not to feature him. Shanks had recently become a father again, and wanted extra time off. This is also only the fifth and final episode - not to feature any characters from the original Stargate film either, the others being " Nightwalkers. Insiders. Uninvited " and the preceding episode of the tenth season. Line in the Sand. Michael Chase ( Charlie) previously played Ancient Med Tech in the Stargate: Atlantis episode " Echoes. Goofs Edit Major General George S. Hammond is seen with both 1 and 2 stars on his uniform. In other languages Edit French: Dimension Parallèle (Parallel Dimension) Italian: La Via Del non Ritorno (The Road of Non Return) Spanish: El Otro Camino (The Other Road) Czech: Cesta, PO níž jsme SE nevydali (The road, on which we had not strike out) Hungarian: A járatlan út (The Road Not Taken) German: Die Parallelwelt (The Parallel World) External links Edit The Road Not Taken on GateWorld. Stargate SG-1 Solutions ' article on The Road Not Taken in The StargateWiki.

1 nomination. See more awards  » Production Notes from IMDbPro Status: Completed, See complete list of in-production titles  » Updated: 7 February 2019 More Info: See more production information about this title on IMDbPro. Edit Storyline Sally Potter's THE ROADS NOT TAKEN follows a day in the life of Leo (Javier Bardem) and his daughter, Molly (Elle Fanning) as she grapples with the challenges of her father's chaotic mind. As they weave their way through New York City, Leo's journey takes on a hallucinatory quality as he floats through alternate lives he could have lived, leading Molly to wrestle with her own path as she considers her future. Plot Summary Add Synopsis Details Release Date: 13 March 2020 (USA) See more  » Also Known As: Company Credits Technical Specs See full technical specs  » Did You Know? Trivia The original film of the name was slated to be "Molly" See more ».

And. white people dancing. surprised Scarlett's famous dancing meme didn't make the cut.
"The Road Not Taken" by Robert Frost is a narrative of a moment in the life of a man when he has a choice to make. "The Road Not Taken" is filled with symbolism. The literal setting of the poem is that of a man at a separation of paths in a yellow wood. He is not sure which path to take and realizes that he will probably never be able to come back and take the other one. Much of the difficulty in this choice lies in the fact that both paths are equally attractive to him. He eventually chooses to take the path that has not been traveled as often. The symbolism in the poem involves the use of two roads as symbols of the choices that are made in life and the options that one has to choose from. Metaphorically, a person's life can be compared to a journey. The person may know where they want to go but there is usually more than one way to get there. Therefore, there are choices to make in life as to which path one will take. Choices are often difficult because of the doubt as to what lies ahead. Sometimes the choices are made even more difficult because one choice seems to be as attractive as the other. In "The Road Not Taken. the choice is made more difficult still by the fact that both roads lead to the same place. They both diverge in the yellow wood but simply take different routes to get there. Frost wishes to travel both of the paths and "be one traveler" so that he can see which choice is really the better one. The perceptions that a person has are seen in verse two when the author says "Though as for that the passing there Had worn them really about the same. The traveler saw one road as being less traveled although both of them were really about the same. The author speaks of looking down the roads as far as he could to try to see what lies ahead of him. The undergrowth in the one path represents the future and the fact that one cannot know what lies ahead. There a...
Uploaded when Jacob was 18.25 years old.

The way of ur teaching is awesome. Yeah I found it fruitful thanks. Does anyone have a link to the background sound? it reminds me of the wind up ballerina toys.


  9. alumni/ watch-full-the-roads-not-taken-at-dailymotion-solarmovie-for-free-795.html




0 comentarios