A PHONOLOGICAL ANALYSIS OF “STOPPING BY WOODS IN A SNOWY EVENING”

BY ROBERT FROST

ABSTRACT
This paper presents a comprehensive phonological analysis of Robert Frost’s iconic poem,
“Stopping by Woods in a Snowy Evening.” By employing the International Phonetic Alphabet
(IPA) transcription, this study delves into the intricate pronunciation of selected words in the
poem, aiming to unravel the phonetic effects intended by the poet. The analysis explores stress
patterns, syllable structures, and specific phonetic features to illuminate the interplay between
language and poetic expression. Through this investigation, readers gain a deeper appreciation of
how correct pronunciation enhances the poem's overall aesthetic and emotional impact.

Keywords: International Phonetic Alphabet – Philippine Center for Language Studies (IPA-
PCLS), Stress Pattern, Syllable Structures, Phonetic features, Language.

INTRODUCTION

Poetry is an art form that uses language to create powerful emotions, vivid images, and

capture the human experience. One of the most celebrated poems is Robert Frost’s “Stopping by

Woods on a Snowy Evening,” which is known for its reflective tone and captivating imagery. The

beauty and meaning of this poem come not only from the words themselves but also from the way

they are spoken.

Linguists and literary scholars have long been interested in the role of phonetics and

phonology in poetry. By analyzing the phonetic aspects of a poem, readers can better understand

the subtle nuances of pronunciation and explore the rhythm, cadence, and phonetic devices used by

the poet. This paper uses IPA transcription and phonological analysis to uncover the hidden

phonetic treasures in Frost’s “Stopping by Woods on a Snowy Evening.”

By carefully examining stress patterns, syllable structures, and specific phonetic features, this

analysis reveals the complex relationship between language and poetic expression. The paper not

only deepens our understanding of the poem’s auditory qualities but also shows how correct

pronunciation can enhance its emotional depth.

ANALYTICAL FRAMEWORK

The phonological analysis of Robert Frost's poem "Stopping by Woods in a Snowy Evening"

will employ a systematic approach to unravel the poem's phonetic intricacies. The framework

consists of several key steps to identify stress patterns, syllable structures, and specific phonetic

features in selected words that hold thematic and imagery significance. The utilization of the

International Phonetic Alphabet (IPA) transcription will accurately represent the words' phonetic

realization, facilitating a comprehensive exploration of pronunciation nuances.

The first step entails a deliberate selection of words essential to the poem's theme and imagery.

These words are chosen based on their ability to convey the central message and evoke emotional

responses in the reader. By focusing on specific words, the analysis aims to delve deeper into their

phonological aspects, enabling a thorough understanding of their role in the poem.

The selected words will be subjected to IPA transcription, which will yield a standardized

representation of their actual phonetic pronunciation. The IPA symbols capture nuances that

conventional spelling cannot, allowing for an accurate analysis across different languages and

dialects. The transcription ensures a precise examination of the phonetic elements, enriching the

overall understanding of the poem's auditory effects.

Stress patterns and syllable structures of the chosen words will be meticulously analyzed.

Identifying primary stressed syllables and understanding syllable division contribute to

comprehending the poem's rhythm and prosody. The stress patterns play a pivotal role in

determining the poem's metrical flow, affecting the reader's engagement and emotional experience.

In this step, specific phonological features present within the selected words will be thoroughly

examined. This encompasses an analysis of vowel qualities, consonant clusters, diphthongs, and

other distinctive phonetic characteristics. The study of these features sheds light on the poet's

deliberate use of phonetics to evoke emotions and enhance the poem's imagery.

The stress and syllable patterns provide the foundation for identifying the poem's rhythmic

patterns. This exploration delves into how the rhythmic flow contributes to the poem's emotional

tone and creates a captivating reading experience. Understanding these rhythmic patterns enhances

our appreciation of the poem's artistic construction.

By adhering to this analytical framework, the phonological analysis of "Stopping by Woods in a

Snowy Evening" will offer a comprehensive understanding of the poem's phonetic subtleties. The

IPA transcription serves as a valuable tool in representing the precise pronunciation of selected

words, enriching our interpretation of the poem's imagery, rhythm, and overall poetic impact.
 Selection of Key Words
IPA Transcription
Stress and Syllable
Analysis Poem
Phonological Analysis
Identification of of "Stopping by Woods
Phonological Features Stopping by Woods in a Snowy Evening" by
Exploration of on a Snowy Evening Robert Frost
Rhythmic Patterns Poem by Robert Frost

Analysis
Analytical
Process

Figure 1. Flowchart Illustrating the Analytical process of a Poem

REVIEW OF RELATED LITERATURE AND STUDIES

In the field of linguistics and literature, the phonological analysis of poetry has been a fascinating

topic for scientists and researchers . Exploring the aural dimension of poetic expression provides a

deeper understanding of how language and sound intertwine to create emotional and aesthetic

impact. A lot of research has been done on the phonetic details of poetic works, illuminating how

phonology shapes poetic techniques and improves the reading experience. (Crystal, 1969; Luce &

Pisoni, 1998; Nöth, 2001).

One such relevant study is the work of Luce and Pisoni (1998), which focused on the perception

of stress patterns in poetry. Their study showed how the rhythmic structure of poetry and the

emotional interpretation of the verses are both influenced by readers' perceptions of stress

patterns. By investigating stress patterns in Frost’s poem, this analysis aligns with the

contribution of Luce and Pison (1998) to understanding the meaning of stress in poetry.

In addition, Crystal's (1969) research focused on the interaction between language, rhythm, and

poetic devices while also examining the use of phonetics and phonology in poetry. The use of

phonetic elements by poets to produce poetic effects and improve the auditory aspects of their

works is demonstrated through Crystal's work. This paper follows in Crystal’s footsteps,

investigating the specific phonetic features employed by Frost to craft the enchanting verses of

“Stopping by Woods on a Snowy Evening.”

Furthermore, the research of Nöth (2001) dealt with the phonetic aspects of poetry from a semiotic

perspective, emphasizing how the sound patterns of language influence the process of poetic

marking. The work of Nöth emphasized the importance of phonetics in poetic expression and the

formation of meaning. Similarly, this analysis examines how the correct pronunciation of words in

Frost's poem affects its imagery and thematic meaning and is consistent with Nöth's study of the

phonetic elements of semiotic poetry.

Moreover, the application of the International Phonetic Alphabet (IPA) in this analysis provides a

standardized and universally accepted representation of speech sounds. The use of IPA assures

correctness and dependability in phonetic transcriptions, promoting cross-linguistic comparisons

and allowing researchers to explore the phonological nuances of Frost’s poem precisely and

consistently.

The methodology used in that analysis uses a systematic and extensive examination of the phonetic

complexity of Frost's poem. By closely examining stress patterns, syllable structures, and specific

phonetic features, this study attempts to reveal the aural capabilities of Frost's poem. Emphasizing

selected keywords promotes focused learning and reveals phonetic effects that add to its evocative

power.

The ability to understand and appreciate poetry depends on having the right pronunciation because

it is an oral and auditory art form. This research shows how stress and syllable patterns affect

reader engagement and emotional experience, and how phonetics shapes the rhythm and prosody

of Frost's poem.

Examining specific phonological features such as vowel features and consonant clusters deepens

our understanding of Frost's conscious choices in creating vivid images and evoking emotions

through phonetics. The paper shows how Frost carefully selected and arranged sounds to enhance

the thematic meaning of his poem.

In addition, there are a number of studies that focus on the analysis of Robert Frost’s "Stopping by

Woods in a Snowy Evening". For example, Hahmi, et. al (2019) concluded that Frost used a

number of stylistic devices including cacophony, alliteration, assonance, tone modulation,

denotation, connotation, metaphor, personification, symbolism, and imagery to highlight the idea

of dismay and death. The repetition of certain words and choice of mental process verbs like think,

see, know, and watch leave a significant effect on the mind of readers. It has also been found that,

Frost tried to show the responsibilities and duties of human on this earth, which everyone has to
perform. Furthermore, he portrayed the short life span of human to perform all these duties, which

finally result in state of depression and anxiety. So, the present study is significant as it will help

the reader to understand the author’s point of view stylistically on linguistic basis rather in the

domain of literary criticism.

Another study conducted by Latif, et. Al (2022) also revealed that in phonological level of

language, alliteration, consonance and assonance are used in the poem to depict the importance of

the words in the poems. In semantic level of language, metaphor, symbols, and imagery are used to

show the poem’s meaning. The two language features in selected poems of Robert Frost are

closely connected to each other convey the meaning of the poem that is battle and connection in

human being’s life.

Lastly, Ambreen, et. al (2020) shows a simple composition that points to the reality of deciding in

dreadful times. There is a conflict between desire and social obligations. A man restrains his inner

desires to fulfill his duties and responsibilities. The outcome of the poem resists a conclusive
reading

and suggests the tensions between society and nature, optimism and pessimism, obligations and

individualism is uncertain but constantly in a murky state of flux.

METHODOLOGY

The method used in this phonological analysis involves a careful and systematic approach to the

study of selected words from A Stop in the Woods on a Snowy Evening by Robert Frost. The steps

involve a combination of qualitative and quantitative analysis, using the International Phonetic

Alphabet (IPA) as the primary tool for accurate phonetic transcription. The first step in the method

is the deliberate choice of words that have significant thematic and image weight in the poem. By

focusing on these key words, the analysis aims to reveal the phonetic influences that enrich the

emotional depth and aesthetic appeal of the poem. Once the words are selected, they undergo IPA

transcription, which provides a standardized representation of their phonetic pronunciation. The

use of IPA ensures accuracy in capturing the subtle phonetic nuances of words and provides an

accurate analysis of their auditory characteristics.

Stress patterns and syllable structures of selected words are identified and analyzed. This

analysis helps to understand the rhythmic progression and metrical structure of the poem, which
are important to its overall prosodic characteristics. Tension patterns guide the reader's reading

pace and emotional experience. Afterwards, the phonological characteristics of the selected words

are thoroughly studied. This includes the analysis of vowel features, consonant clusters,

diphthongs, and other characteristic phonetic elements.

By examining these features, the study aims to reveal Frost's conscious choices to evoke

emotion and create vivid images through phonetics. Rhythm patterns derived from stress and

syllable analysis are further explored, and how the poem's pedal power affects its overall emotional

and aesthetic impact is illuminated. Understanding the rhythmic patterns increases our appreciation

of Frost's mastery and how he used phonetics to shape the aural experience of the poem.

The combination of IPA transcription, stress and syllable analysis, and the study of specific

phonetic features provides a comprehensive and nuanced understanding of the poem's

phonological subtleties. This methodology allows readers to gain valuable insight into the aural

aspects of Stopping by Woods in a Snowy Evening. They appreciate the harmonious interaction of

language and poetic expression.

RESULTS AND DISCUSSION

In poetry, sound creates a richer experience for readers. Robert Frost's "Stopping by Woods in a

Snowy Evening" exemplifies this. Using the International Phonetic Alphabet, we'll explore its

phonetic elements, stress patterns, and syllable structures. To uncover the hidden treasures within

the poem's phonetic subtleties and discover its emotive tone.

1.1Deliberate Selection of Essential Words

In the poem "Stopping by Woods in a Snowy Evening," we carefully choose words that hold

thematic and imagery significance. These words will convey the central message and evoke

emotional responses in the reader. The selected words are "woods," "snowy," "evening," "house,"

"village," "stopping," "watch," and "fill."

1.2 IPA Transcription

A. Analysis of Speech Sounds in terms of Segmental Phonemes based on IPA-PCLS

In analyzing speech sounds, the researchers utilized the symbols of speech sounds by

International Phonetic Alphabet – Philippine Center for Language Studies. As cited by Pesirla
(2021), IPA-PCLS is “a Filipino version of IPA, which is the most appropriate variety to be used

by Filipino teachers who are second language speakers of English themselves.”

1. Vowels

see /siy/ me /miy/ here /hiyr/

[iy] queer /kwiyr/ near /niyr/ year /yiyr/

sweep /swiyp/ deep /diyp/ keep /kiyp/

sleep /sliyp/ these /dhiyz/ between /bItwiyn/

evening /iyvnIng/ easy /iysI/

No. of Samples 14

think /thIngk/ his /hIs/ is /Is/

[I] in /In/ village /vIleyj/ will /wIl/

fill /fIl/ it /It/ gives /gIvs/

if /if/ wind /wInd/ between /bItwiyn/

mistake /mIsteyk/ evening /iyvnIng/ lovely /ləvlI/

stopping /stͻpIng/ ownly /ownlI/ downy /dawnI/

with /wIdh/ easy /iysI/

No. of Samples 20

[ey] village /vileyj/ lake /leyk/ Shake /sheyk/

mistake /mIsteyk/ flake /fleyk/

No. of Samples 5

[Ɛ] there /thƐr/ bells /bƐls/

No. of Samples 2

[ӕ] and /ӕnd/ ask /ӕsk/ have /hӕv/

No. of Samples 3

Total Number of Samples Having Front Vowels 44

Table 1.1. List of Samples Having Front Vowels

Central Vowels

the /dhə/ up /əp/ must /məst/

[ə] darkest /darkəst/ some /səm/ lovely /ləvlI/

 promises /prͻməsəs/ other /ͻdhər/ but /bət/

No. of Samples 9

are /ar/ house /haws/ watch /wach/

[a] darkest /darkəst/ dark /dark/ harness /harnəs/

No. of Samples 6

Total Number of Samples Having Central Vowels 15

Table 1.2. List of Samples Having Central Vowels

[ͻ] stopping /stͻping/ not /nͻt/ horse /hͻrs/

stop /stͻp/ of /ͻv/ other /ͻdhər/

promises /prͻməsəs/

No. of Samples 7

[ow] know /now/ though /dhow/ snow /snow/

frozen /frowz’n/ only /ownlI/ downy /dawnI/

go /gow/ before /bəfowr/

No. of Samples 8

[uw] to /tuw/ woods /wuwdz/

No. of Samples 2

[U] whose /hUs/

No. of Samples 1

Total Number of Samples Having Back Vowels 18

Table 1.3. List of Samples Having Back Vowels

Based on the analysis of the data, the study found out that there are 44 front vowel sounds in the

poem consisting of 20 [I], 14 [iy], 5 [ey], 3 [ӕ] and 2 [Ɛ] sounds. The study also discovered that there are 15

central vowels in the poem consisting of 9 [ə] and 6 [a] sounds. In addition, the study revealed that there are

18 back vowels consisting of 8 [ow], 7 [ͻ], 2 [uw], and 1 [U] sounds. There are a total of 85 vowel sounds

present in the poem . Noticeably, the most dominant vowel sound is [I] having 20 speech sound samples

followed by [iy] having 14, and then the [ə] having 9. This data suggests that this primarily poem is focused

on the articulation of the [I] and [iy] sounds, which can be a good learning resource material to be used in

enhancing front vowel sounds.

2. Diphthongs

[ay] I /ay/ my /may/ miles /mayls/

No. of Samples 3

[oy]

No. of Samples 0

[aw] house /haws/ downy /dawnI/ without /wIdhawt/

farmhouse /farmhaws sound’s /sawnds/

No. of Samples 5

Total Number of Samples Having Diphthongs 8

Based on the analysis of the data, the study found out that there are 8 diphthongs in the poem

consisting of 5 [aw] and 3 [ay]sounds. It can also be noted that there are no [oy] diphthong sound in

the poem.

3. Consonants

[p] stopping /stͻpIng/ sweep /swiyp/ keep /kiyp/

deep /diyp/ sleep /sliyp/ stop /stͻp/

promises /prͻməsəs/ up /əp/

No. of Samples 8

[b] between /bItwiyn/ bells /bƐls/ before /bəfowr/

but /bət/

No. of Samples 4

[t] not /nͻt/ stopping /stͻpIng/ stop /stͻp/

to /tuw/

No. of Samples 4

[d] deep /diyp/ wind /wInd/ sounds /sawnds/and

dark /dark/ darkest /darkəst/

No. of Samples 5

[k] queer /kwiyr/ keep /kiyp/ think /thIngk/

mistake /mIsteyk/ lake /leyk/ flake /fleyk/

shake /sheyk/ ask /ӕsk/ darkest /darkəst/

 keep /kiyp/ darkest /darkəst/

No. of Samples 11

[g] gives /gIvs/ go /gow/

No. of Samples 2

Table 3.1. List of Samples Having Plosives

[f] fill /fIl/ frozen /frowz’n/ if /if/

farmhouse before /bəfowr/ flake /fleyk/

/farmhaws/

No. of Samples 6

[v] evening /iyvnIng/ village /vIleyj/ gives /gIvs/

lovely /ləvlI/ have /hӕv/

No. of Samples 5

[th] think /thIngk/

No. of Samples 1

[dh] these /dhiyz/ the /dhə/ though /dhow/

there /thƐr/ other /ͻdhər/

No. of Samples 5

[s] whose /hUs/ his /hIs/ woods /wuwdz/

these /dhiyz/ house /haws/ stopping /stͻpIng/

stop /stͻp/ horse /hͻrs/ must /məst/

sound’s /sawnds/ easy /iysI/ sleep /sliyp/

promises /prͻməsəs/ miles /mayls/ sweep /swiyp/

No. of Samples 15

[z] these /dhiyz/ woods /wuwdz/ frozen /frowz’n/

No. of Samples 3

[sh] shake /sheyk/

No. of Samples 1

[zh]

No. of Samples 0

Table 3.2. List of Samples Having Fricatives

[ch] watch /wach/

No. of Samples 1

[j] village /vIleyj/

No. of Samples 1

Table 3.3. List of Samples Having Affricatives

[m] some /səm/ my /may/ miles /mayls/

farmhouse /farmhaws/ mistake /mIsteyk/ must /məst/

promises /prͻməsəs/

No. of Samples 7

[n] think /thIngk/ know /now/ in /In/

stopping /stͻping/ between /bItwiyn/

No. of Samples 5

[ng] stopping /stͻping/ think /thIngk/

No. of Samples 2

Table 3.4. List of Samples Having Nasals

[l] little /l’l village /vIleyj/ will /wIl/

fill /fIl/ only /ownlI/ sleep /sliyp/

flake /fleyk/ lovely /ləvlI/

No. of Samples 8

[r] horse /hͻrs/ queer /kwiyr/ year /yiyr/

farmhouse darkest /darkəst/

/farmhaws/

No. of Samples 5

Table 3.4. List of Samples Having Liquids

[‘l] little /l’l

No. of Samples 1

[‘n]

No. of Samples 0

Table 3.7. List of Samples Having Syllabic Consonants

 Based on the analysis of the data, the study found out that there are 34 front plosives in the poem

consisting of 11 [k], 8 [p], 5[d], 4 [b], 4 [t] and 2 [g] sounds. The study also discovered that there are 36

fricatives in the poem consisting of 15 [s, 6[f], 5 [v], 5 [dh] 3 [z] 1 [th] and 1 [sh] sounds. As observed,

there are no [zh] sound in the poem. In addition, the study revealed that there are 2 affricatives consisting of

1 [ch], and 1 [j] sounds. Furthermore, there are also 14 nasals consisting of 7 [m], 5 [n] and 2 [ng]sounds.

Sparingly, there are 18 liquids consisting of 8 [l] and 5 [r]. Lastly, there is only one syllabic consonant

sound in the poem and that is ['l] from the word "little". This data suggests that the poem is focused on the

articulation of the sound [s] and [k]. which are dominantly present from the beginning to the end of the

selected poem.

Speech Sounds
f % Rank Interpretation
Vowels

Front 44 51.76 1 Very High

Central 15 17.65 3 Low

Back 18 21.18 2 Low

Dipthongs 8 9.41 4 Very Low

Grand Total 85 100.00

Speech Sounds
f % Rank Interpretation
Consonants

Plosives 34 34.00 2 Very High

Fricatives 36 36.00 1 Very High

Affricatives 2 2.00 5 Very Low

Nasals 14 14.00 3 Low

Liquids 13 13.00 4 Low

Syllabic Consonants 1 1.00 6 Very Low

Grand Total 100 30.00

Table 3 Comparison of Vowel and Consonant Sounds in the Poem

“Stopping by Woods on a Snowy Evening” By: Robert Frost

In terms of number, the consonant sounds are more present than the vowel sounds

(100>80). The poem contains 36% fricatives, 34% plosives, 14% nasals, 13% liquids, 2%

affricatives, and 1% syllabic consonants. On the other hand, the poem has 51.76% front vowels,
21.18% back vowels, 17.65% central vowels, 9.41% diphthongs. This data suggest that the poem

is recommended for teaching fricatives and front vowels in speech classes.

B. Analysis of Speech Sounds in terms of Suprasegmental Phonemes

Word Stress

The following are the list of 48 stressed words that can be found in the selected poem

entitled, “Stopping the Woods on a Snowy Evening”. These stressed words function as content

words (nouns, verbs, adjectives, and adverbs). In contrast, the words, which are unstressed in the

sentence, are called function words.

Line Sentence Occurrence

1 Whose woóds these are I thínk I knów. 3

2 His hóuse is in the víllage though; 2

3 He will not sée me stópping here 2

4 To wátch his woóds fíll up with snów. 4

5 My líttle hórse must thínk it quéer 4

6 To stóp without a fármhouse near 2

7 Between the woóds and frózen láke 2

8 The dárkest évening of the yéar. 3

9 He gíves his hárness bélls a sháke 4

10 To ásk if there is some místake. 2

11 The ónly other sóund’s the swéep 3

12 Of éasy wínd and dówny fláke. 4

13 The woóds are lóvely, dárk and déep, 4

14 But I háve prómises to kéep, 3

15 And míles to gó before I sléep, 3

16 And míles to gó before I sléep, 3

Total Number of Stressed Words in the Sentence 48

Intonation

The following table lists down the phrases and sentences having varied pitch-level of

combinations. Based on the table, there are 16 series non-final intonation since the poem is written
in iambic tetrameter, which has four iambic feet wherein the first syllable is unstressed and the

second is stressed.

Pitch-Level Sample Sentences

Combinations

The Series Non- 3 3 3 3

/2/Whose woods/2/ these are/2/ I think /2/ I know. #/1
final Intonation
3 3 3 3
(2-3-2-3-2-3…) /2/His house /2/ is in/2/ the vill /2/ age though; #/1

3 3 3 3
/2/He will/2/ not see/2/ me stop/2/ ping here #/1

3 3 3 3
/2/To watch /2/ his woods /2/ fill up /2/ with snow. #/1

3 3 3 3
/2/My lit/2/ tle horse /2/ must think /2/ it queer #/1

3 3 3 3
/2/To stop /2/ without/2/ a farm/2/ house near #/1

3 3 3 3
/2/Between /2/ the woods/2/ and fro/2/ zen lake#/1

3 3 3 3
/2/The dar/2/ kest eve/2/ ning of /2/ the year. #/1

3 3 3 3
/2/He gives/2/ his har/2/ ness bells/2/ a shake#/1

3 3 3 3
/2/To ask/2/ if there/2/ is some/2/ mistake. #/1

3 3 3 3
/2/The only/2/ other/2/ sound’s /2/ the sweep#/1

3 3 3 3
/2/Of easy /2/ wind and/2/ downy /2/ flake. #/1

3 3 3 3
/2/The woods/2/ are love/2/ ly, dark /2/ and deep, #/1

3 3 3 3
/2/But I /2/ have pro/2/ mises/2/ to keep,#/1

3 3 3 3
/2/And miles/2/ to go/2/ before /2/ I sleep, #/1

3 3 3 3
/2/And miles /2/ to go/2/ before /2/ I sleep #/1

Total number of Occurrence 16

CONCLUSION

Through phonological analysis of the poem Stopping of Woods on a Snowy Evening, it is

revealed that the poem is rich in frontal vowel sounds specifically the [iy] and [I] sounds. It has

also a plenty of fricatives and plosives specifically the sounds [s] and [k]. In addition, there are a

total of 48-word stress found in the poem consisting of nouns, verbs, adverbs, and adjectives.

Lastly, the poem has 16 samples of The Series Non-final Intonation (2-3-2-3-2-3…), since the

poem is written in iambic tetrameter having four feet for each line consisting of two syllables (first

unstressed, the second stressed). It is also proven that the rhythmic structure of poetry and the

emotional interpretation of the verses are both influenced by readers' perceptions of stress patterns.

The use of phonetic elements by poets to produce poetic effects and improve the auditory aspects

of their works.

RECOMMENDATION

Based on the results of the study, it is recommended that:

1.The poem must be included in the teaching of speaking.

2.Teachers of the English may use this poem in enhancing the

pronunciation skills of the students focusing on the frontal vowels

[iy] and [I] sounds.

3.The school administration may design a plan that develops the

pronunciation skills of the learners using the poem Stopping of

Woods on a Snowy Evening.

4. For Enrichment activity parents may also be guided using the

poem to help their children develop correct pronunciation.

5.Furthermore, the study suggests the following Research Title:

A. Phonological Analysis of the “The Road Not Taken” by Robert Frost

B. Phonological Analysis of the “The Raven” by Edgar Allan Poe

C. Phonological Analysis of the “She Walks in Beauty” by Lord Byron

 REFERENCES

Crystal, D. (n.d.-a). Prosodic systems and intonation in English, volume 1. Google Books.
https://books.google.com/books/about/Prosodic_Systems_and_Intonation_in_Engli.html?
id=aS45AAAAIAAJ

Laboratory, L. P. (n.d.). Recognizing spoken words: The neighborhood activation model: Ear and
hearing. LWW.
https://journals.lww.com/ear-hearing/Abstract/1998/02000/Recognizing_Spoken_Words__T
he_Neighborhood.1.aspx

Handbook of Semiotics | Semantic scholar. (n.d.-a).

https://www.semanticscholar.org/paper/Handbook-of-Semiotics-N%C3%B6th/
3682d8e16ea590de2b4498e5c727aa1e997aca32

Frost, R. (n.d.). Stopping by woods on a snowy evening by Robert... Poetry Foundation.

https://www.poetryfoundation.org/poems/42891/stopping-by-woods-on-a-snowy-evening

APPENDIX A

Stopping by Woods on a Snowy Evening

By: Robert Frost

Whose woods these are I think I know.

His house is in the village though;
He will not see me stopping here
To watch his woods fill up with snow.

My little horse must think it queer

To stop without a farmhouse near
Between the woods and frozen lake
The darkest evening of the year.

He gives his harness bells a shake

To ask if there is some mistake.
The only other sound’s the sweep
Of easy wind and downy flake.

The woods are lovely, dark and deep,

But I have promises to keep,
And miles to go before I sleep,
And miles to go before I sleep.