1.

) FORM OF THE TEXT

2.) SYMBOLS

3.) REGION AUTHOR

4.) LANGUAGE

5.) STYLE

6.) NARRATION

7.) POINT OF VIEW

8.) LITERARY DEVICES

9.) STRUCTURE

10.) CLOSE READING

We slept in what had once been the gymnasium.

A balcony ran around the room, for the spectators, and I thought I could smell, faintly like an afterimage, the pungent
scent of sweat, shot through with the sweet taint of chewing gum and perfume from the watching girls, felt-skirted as I
knew from pictures, later in miniskirts, then pants, then in one earring, spiky green-streaked hair.

We slept in what had once been the gymnasium.

The floor was of varnished wood, with stripes and circles painted on it.

The hoops for the basketball nets were still in place.

A balcony ran around the room.

The pungent scent of sweat, shot through with the sweet taint of chewing gum.

Perfume from the watching girls, felt-skirted.

Dances would have been held there; the music lingered, a palimpsest of unheard sound, style upon style, an
undercurrent of drums, a forlorn wail, garlands made of tissue-paper flowers, cardboard devils, revolving ball of mirrors,
powdering the dancers with a snow of light.

We slept in what had once been the gymnasium.

The floor was of varnished wood, with stripes and circles painted on it.

The hoops for the basketball nets were still in place.

A balcony ran around the room

I thought I could smell, faintly like an afterimage, the pungent scent of sweat, shot through with the sweet taint of
chewing gum and perfume from the watching girls, felt-skirted as I knew from pictures, later in miniskirts, then pants,
then in one earring, spiky green-streaked hair.
The music lingered, a palimpsest of unheard sound, style upon style, an undercurrent of drums, a forlorn wail, garlands
made of tissue-paper flowers, cardboard devils, revolving ball of mirrors, powdering the dancers with a snow of light.

Spectators

Afterimage

Pungent

felt-skirted

Lingered

Palimpsest

Undercurrent

Forlorn wail

In Robert Frost's poem "The Road Not Taken," the speaker struggles to choose between two paths that diverge
in the yellowish woods on an autumn morning. In the poem, the protagonist reaches a turning point in his life, finally
arriving at a crossroads near "a yellow wood." According to him, the paths are equally well-traveled and produce
anonymous results. The individual finds comfort in the thought of returning, even if his path is undesirable for him;
however, in actuality, he realizes that such a thought is meaningless. Because his current path will lead to separate
paths, any distortion will be impossible. The individual ends on a hopeful note, reflecting on how different circumstances
and results would have occurred if they had taken the "other" path.

Robert Frost's poetic masterpiece is, without a doubt, the most famously misguided poem written. The
poem is mostly reviewed without being understood, combining elements of style and substance, apprehending creative
wordage, and figures of speech. It actually excludes giving advice on how to choose a specific path. Frost's pull on the
matter is perhaps more complicated. The grassy roads and yellow woods resemble the present as seen through the eyes
of the individual. Within itself, this actualization is sad and strange. The decision to take the road less traveled by will be
the first thing that the future self will regret. In this case, his guilt is unwavering in some ways.

Robert Frost has used an interesting style in the poem. He created configurations that seem to be suitable
for his poetry. He tends to work both within and outside of limitations, crafting remarkable, noticeable, and distinctive
poetry. He made an art of "sound of sense" in his formative years, bringing raw visual input to the human mind. Because
of the form of words and the sound of sense, the sound of words creates imagery.

The ABAAB rhyming scheme has been used. There are two sets of rhymes, which implies there are different
pairs of rhythm. The first line's ending sound is repeated in the third and fourth lines. The second and last lines, on the
other hand, rhymes too.

It's more about guilt in 'The Road Not Taken.' On the surface, it appears that the poet is applauding the
speaker's choice. However, a careful examination of the text reveals that the speaker regrets his decision even before it
is put into action. The composer mentions the first road in the title to emphasize the speaker's dominant thought. There
will be no problem if there is only one road. He struggles to make a decision as he has two options and suffers from
impatience for a long time. Even if he chooses one path (which may or may not be suitable for him), he will be thinking
about the other one. The traveler believes he has done the right thing by "taking the road less traveled." As a result, the
poem motivates and inspires its audience to be extraordinary.