We are told the saw his cut hand as if it had a mind of its own. Daniel Moran supports this notion, by stating, "This saw is no mindless tool; instead, it attacks the wood like a pit bull, snarling and rattling as the boy feeds it" (Moran)
Sometimes this teenager gives the parents grief. "So Eden sank to grief" (Frost 1)
/ I have outwalked the furthest city light."(Frost, 8) The actual description in the poem suggests a nocturnal walk somewhere beyond the borders of an inhabited city
" (Line 5 stanza 3), in addition to the stutter of 'I' in line 2 and also 3 of stanza 5 "Two roads diverged in a wood and I- I took the one less traveled by." (Finger, 1978; Frost, 1988) Roads are yet another work of metaphors
Together with the lines 4 as well as 5 within the 2nd stanza, "Though as for that the passing there had worn them really about the same." (Frost, 1988) Right here we can appreciate that there's no 'road less taken' and also that, the road are very identical and that there truly isn't any distinction between them
Additionally, it then delivers the assertion in line 2 stanza 4, because a hyperbole has been brought up, "somewhere ages and ages hence." Here, the narrator does not have ages and ages still left in his own life, so it is simply the hoping that he possessed more time and energy to decide, but nevertheless, that is certainly not the situation (Reichman, 2012)
He writes of his life, and its passing, "For I have known them all already, known them all: -- / Have known the evenings, mornings, afternoons, / I have measured out my life with coffee spoons; / I know the voices dying with a dying fall / Beneath the music from a farther room. / So how should I presume?" (Eliot)
He is mending a stone wall, but it is clear he does not see the need for the wall, because he has nothing he wants to keep "in" or "out." He muses, "Before I built a wall I'd ask to know / What I was walling in or walling out, / And to whom I was like to give offence" (Frost)