The reason why Robert Frost does this is because this contrast creates a sense of uncertainty hanging over the poem, creating suspense for his readers, as his readers are uncertain about what is going to happen.
To put the matter simply, there is no exact precedent in English verse for Frost’s dramatic narratives. Compare their style and structure to the narrative verse of Crabbe, Wordsworth, Browning, Hardy, and Robinson as well as other major narrative poets of Frost’s formative years—Longfellow, Tennyson, Rudyard Kipling, and Bret Harte—and his originality is immediately apparent. Frost’s dramatic narratives are more concise, realistic, understated, and dialectical than any available model. Their combination of minimalist narration and direct dialogue with authorial neutrality is something tangibly new in narrative verse. In this sense, North of Boston must be seen as a Modernist endeavor, an experimental enterprise as innovative as Harmonium or White Buildings, and a work all the more interesting because it predates the more celebrated examples of American Modernist poetry.
Yet Frost had written Untermeyer two years previously that "I'll bet not half adozen people can tell you who was hit and where he was hit in my Road Not Taken," andhe characterized himself in that poem particularly as "fooling my way along." Healso said that it was really about his friend Edward Thomas, who when they walked togetheralways castigated himself for not having taken another path than the one they took. WhenFrost sent "The Road Not Taken" to Thomas he was disappointed that Thomas failedto understand it as a poem about himself, but Thomas in return insisted to Frost that"I doubt if you can get anybody to see the fun of the thing without showing them andadvising them which kind of laugh they are to turn on." And though this sort ofadvice went exactly contrary to Frost's notion of how poetry should work, he did onoccasion warn his audiences and other readers that it was a tricky poem. Yet it became apopular poem for very different reasons than what Thomas referred to as "the fun ofthe thing." It was taken to be an inspiring poem rather, a courageous credo stated bythe farmer-poet of New Hampshire. In fact, it is an especially notable instance in Frost'swork of a poem which sounds noble and is really mischievous. One of his notebooks containsthe following four-line thought:
The omission of an unstressed vowel or syllable to preserve the of a line of poetry. Alexander uses elision in "Sound and Sense": "Flies o'er th' unbending corn...."
The paper looks at the themes of destruction and alienation contained within the poem, and shows how they reflect the poet's own loneliness and his sense of being misunderstood.
We get "cadences by skillfully breaking the sounds of sense with all their irregularity of accent across the regular beat of the meter." Frost's use of the sound of sense leads to his special interpretation of tone.
(Worth reading in full, Here are some excerpts:the sound of sense is the abstract vitality of our speech." "The best place to get the abstract sound of sense is from voices behind a door that cuts off the words." Sounds.."are summoned by the audile imagination and they must be positive, strong and definitely and unmistakenly indicated by the context." (sense).
The "fun" is "outside," and lies in doing something like teasing,suggesting formulae that don't formulate, or not quite. The fun is not in being"essentially intellectual" or in manifesting "intellectual enthusiasm"in Meiklejohn's sense of the phrase, but in being "subtle," and not just subtlebut so much so as to fool "the casual person" into thinking that what you saidwas obvious. If we juxtapose these remarks with his earlier determination to reach out asa poet to all sorts and kinds of people, and if we think of "The Road Not Taken"as a prime example of a poem which succeeded in reaching out and taking hold, thensomething interesting emerges about the kind of relation to other people, to readers - orto students and college presidents - Frost was willing to live with, indeed to cultivate.
A concrete representation of a sense impression, a feeling, or an idea. Imagery refers to the pattern of related details in a work. In some works one image predominates either by recurring throughout the work or by appearing at a critical point in the plot. Often writers use multiple images throughout a work to suggest states of feeling and to convey implications of thought and action. Some modern poets, such as Ezra Pound and William Carlos Williams, write poems that lack discursive explanation entirely and include only images. Among the most famous examples is Pound's poem "In a Station of the Metro":
What the president could hardly have imagined, committed as he was in high seriousnessto making the life of the college truly an intellectual one, was the unruliness of Frost'sspirit and its unwillingness to be confined within the formulas - for Meiklejohn, theywere the truths - of the "liberal college." On the first day of the new year,1917, just preparatory to moving his family down from the Franconia farm into a house inAmherst, Frost wrote Untermeyer about where the fun lay in what he, Frost, thought of as"intellectual activity":
The use of words to imitate the sounds they describe. Words such as and are onomatopoetic. The following line from Pope's "Sound and Sense" onomatopoetically imitates in sound what it describes:
If we are to believe Frost and his biographer, "The Road Not Taken"was intended to serve as Frost's gentle jest at Thomas's expense. But the poemmight have had other targets. One such target was a text by another poet who ina different sense might also be considered a "friend": Henry WadsworthLongfellow, whose poem, "My Lost Youth," had provided Frost with the title he chose for his first book.