The poems “I Too” by Langston Hughes and “The Road Not Taken” by Robert Frost are two poems that are written by different author. However, if to look closely both of the poems look at the problem of choice. It is important to analyze both of the poems separately in order to trace the common theme.
The exacting importance of this ballad by Robert Frost is really self-evident. A voyager goes to a crossroads and necessities to choose which approach to go to proceed with his trip. After much mental open deliberation, the explorer picks the street "less went by."
The non-literal importance is not very shrouded either. The lyric portrays the tough decisions individuals stand for when venturing to every part of the street of life. The words "sorry" and "moan" make the tone of lyric to some degree melancholy. The voyager laments leaves the potential outcomes of the street not picked behind. He understands he likely won't pass along these lines again.There are bounty abstract gadgets in this sonnet to be found. One of these is absolute opposite. At the point when the voyager goes to the byway, he wishes he could travel both. Inside the present speculations of our physical world, this is a non probability (unless he has a part identity). The voyager understands this and instantly rejects the thought.
However, another little disagreement are two comments in the second stanza about the street less voyaged. To start with it's depicted as verdant and needing wear, after which he swings to say the streets are really worn about the same (maybe the street less voyaged makes explorers turn back?). All sensible individuals realize that streets don't think, and consequently don't need. They can't. Be that as it may, the depiction of the street needing wear is a case of exemplification in this sonnet. A street really needing some as a man would. Be that as it may: some trust this to be erroneous and think "needing wear" is not an exemplification, but instead more seasoned English signifying "lacking". So it would be "On account of it was green and needed wear;".
“The Road Not Taken" is an incredible case of what Frost implied by "the delight of ulteriority" in his verse. That is, the sonnet offers an amusing twofold viewpoint on the subject of settling on decisions, with one point of view genuinely evident and the other more unpretentious.
Considered through the point of view of the speaker himself, "The Road Not Taken" is a completely genuine, even a miserable lyric. It communicates both the turmoil of settling on a decision and the discouraging desire that the decision he makes between apparently rise to choices will turn out for the more awful—is truth be told going to have a significantly more prominent effect for the more regrettable than appears to be conceivable when he settles on the decision.
Considered from Frost's point of view, then again, "The Road Not Taken" is a clever spoof of the speaker's ominous propensities for psyche. Ice's 1931 article "Instruction by Poetry" offers further illumination on this point. In it, he composed that individuals need to comprehend that all representations are human develops that "separate sooner or later"; individuals need to "know [a] allegory in its quality and its weakness[h]ow far [one] may hope to ride it and when it might separate." From this point of view, the principle issue of the speaker in "The Road Not Taken" is that he tries to ride his illustration too far and too hard. Despite the fact that he sees it separate right on time in the ballad (in that he really can't see any genuine distinction between the two streets), the speaker continues in imagining that the street is "less gone" somehow that he can't see and that this distinction will prompt desperate results later on.
The lyric "I, Too" is otherwise called "I, Too, Sing America," and was at first titled "Epilog" when it showed up in The Weary Blues, the 1926 volume of Langston Hughes' verse. It has been anthologized over and again and researchers have expounded on it ordinarily. It is composed in free verse and components short lines and basic dialect.
Hughes thought of "I, Too" from the point of view of an African American man - either a slave, a liberated individual in the Jim Crow South, or even a household worker. The absence of a solid personality or chronicled setting does not relieve the lyric's message; truth be told, it gives on it a high level of comprehensiveness, for the circumstance Hughes portrays in the ballad mirrors a typical affair for some African Americans amid his time.
The speaker starts by announcing that he also can "sing America," implying that he is guaranteeing his entitlement to feel energetic towards America, despite the fact that he is the "darker" sibling who can't sit at the table and should eat in the kitchen. This insinuates the basic routine of racial isolation amid the mid twentieth century, when African Americans confronted separation in about each part of their lives. They were compelled to live, work, eat and travel independently from their white partners, had couple of common or lawful rights, were regularly casualties of racial brutality, and confronted financial minimization in both the North and the South. One commentator distinguishes the opening lines of the lyric as illustrative of W.E.B. DuBois' hypothesis of "twofold cognizance":
It is an impossible to miss sensation, this twofold cognizance, this feeling of continually taking a gander at one's self through the eyes of others, of measuring one's spirit by the tape of a world that looks on in diverted scorn and pity. One ever feels his two-ness,— an American, a Negro; two souls, two contemplations, two unreconciled strivings; two warring goals in one dull body, whose obstinate quality alone keeps it from being torn in two.
The speaker does not grieve in misery, in any case. He broadcasts that "tomorrow" he will join the others at the table and nobody will set out send him back to the kitchen. That, as well as the "others" will see "how lovely" the speaker is and will in this way feel embarrassed. This announcement is amazingly cheerful and idealistic. The speaker shows an elevated feeling of self and broadcasts his aspiration to declare his authenticity as an American native and as a man.
The conjuring of America is imperative, for Hughes is communicating his conviction that African Americans are an important part of the nation's populace and that he anticipates a racially rise to society sooner rather than later. Numerous faultfinders trust that "I, Too" is an informal reaction to the considerable writer Walt Whitman's sonnet, "I Hear America Singing." This is likely given Hughes' communicated proclivity for Whitman's work, and in addition the comparability between the titles and decision of words. In Whitman's lyric, an assortment of Americans - including a workman, craftsman, boatman, and mother - sing happily about America. Hughes recommends that despite the fact that the circumstances are diverse for African Americans, they additionally should encounter patriotism.
In conclusion, both of the poems discuss an issue of choice. The poets come up to this problem from different sides. However, they show the problem of choice.
Works Cited
Hughes, L. “I Too”. Web. 2016.
Frost, R. “The Road Not Taken”. Web. 2016.
