unit 3 revision - squarespace3+revision.pdf · 2.promotional advertising this technique involves...
TRANSCRIPT
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Revision Unit ThreeThe Final Countdown
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“Contents“Advertising Basics! 3
“Media Studies! 9
2011 Junior Certificate Higher Level Media Studies! 10
“Poetry! 15
“Robert Frost! 18
The Tuft of Flowers! 19
Critical Commentary: The Tuft of Flowers! 22
The Road Not Taken! 24
Critical Commentary: The Road Not Taken.! 26
Out Out! 27
Critical Commentary: Out Out! 28
Poetry Versus Prose! 31
In order to access the enhanced media conta ined in th i s and other
handouts , p lease consu l t the webs i te :
www.c ianhogan .com
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“Adver t i s ing Bas ics
1. Emot iona l Appea lThis techn ique makes use of two separ ate s t r ateg ies - (a) i t
appea ls the needs of consumer s and (b) i t employs the fear
factor.
The most common appea ls to consumer need inc lude :
■ the need for someth ing new
■ the need to ga in acceptance
■ the need to be l i s tened to
■ the need for secur i ty
■ the need to become at t r act ive
■ the need to improve your l i fe
The most common appea ls to consumer fear s inc lude :
■ the fear of acc ident
■ the fear of death
■ the fear of soc ia l i so lat ion
■ the fear of get t ing s ick
■ the fear of ag ing .
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2. Promot iona l Adver t i s ingThis techn ique invo lves g iv ing away samples of products for f ree to
consumer s . I tems are usua l ly o f fered at the t r ade fa i r s , promot iona l
events , and even on the s t reet to in order to r a i se br and awareness .
3. Bandwagon Adver t i s ingThis type of techn ique a ims to conv ince consumer s to jo in the group
of people who have a l ready bought the product and are happy that
they d id so. For example . The V.H. I i s cur rent ly r unn ing an add that
makes use of th i s techn ique .
4. Facts and Stat i s t i cs (pseudo sc ience)Adver t i ser s of ten use s tat i s t i cs , number s , and rea l - l i fe examples in
order to demonstr ate just how super ior the i r product i s . For e .g .
“Domestos f loor c leans 99 .99% of a l l known germs” .
5. Unfin i shed AdsAdver t i ser s p lay wi th words by c la iming that the i r products wor k
better than the i r compet i tor s . However, they fa i l to say just how much
better the product i s .
6. Wease l WordsIn th i s techn ique , whi le adver t i ser s don ’ t to be better than the i r
compet i tor s , but don ’ t a l so fa i l to deny that they are . Our product
reduces wr ink les .
7. Endor sementsAdver t i ser s use ce lebr i t ies to promote the i r products . Frequent ly,
ce lebr i t ies wi l l descr ibe the i r own pos i t ive exper iences wi th the
product . For example One Direct ion endor ses Pokémon.
8. Complement ing the Consumer s In th i s case , adver t i ser s of ten use used punch l ines that complement
consumer s who have made the choice to buy the i r products . E .g .
Lorea l ’s s logan “Because you are wor th i t ,” i s an obv ious of th i s .
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9. Idea l fami ly, idea l re la t ionsh ips scenar io
Adver t i ser s use th i s techn ique to demonstr ate that the fami l ies or
people us ing the i r products are per fect .
10.Quest ion ing Consumer s
Here adver t i ser s pose quest ions to the i r customer s and then answer
them. Insur ance companies f requent ly use th i s techn ique .
11. The Ent icement
Th is techn ique i s used to br ibe the consumer s by reduct ions in pr ice
or enhanced ser v ices .
12. Sur rogate Adver t i s ingThis techn ique i s gener a l ly used by the companies that cannot
adver t i se the i r products d i rect ly.
Break up into groups of four and us ing the above cr i ter ia ana lyse the
fo l lowing te lev i s ion and internet adver t i sements .
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______ 6 ______
Add No 1 Add No 2 Add No 3Advertising Techniques Used
Advertising Techniques Used
Advertising Techniques Used
One aspect of the add that appealed or did not appeal to you
One aspect of the add that appealed or did not appeal to you
One aspect of the add that appealed or did not appeal to you
Is the add effective? Support your answer.
Is the add effective? Support your answer.
Is the add effective? Support your answer.
Of the three adds which one would persuade you most to buy the product? Give reasons for your answer. Remember to ground your response in the language of media studies.
Of the three adds which one would persuade you most to buy the product? Give reasons for your answer. Remember to ground your response in the language of media studies.
Of the three adds which one would persuade you most to buy the product? Give reasons for your answer. Remember to ground your response in the language of media studies.
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To v iew these at home download Uni t three f rom the webs i te .
www.c ianhogan .com
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“Media Studies
Jun ior cer t i f i cate 2008
2. Look at the poster s on Page 2 and Page 3 of Paper X. (These images
are inc luded in reduced form be low.) Cl ick on the fo l lowing l ink to
see the or ig ina l . ht tp : / /www.examinat ions . ie /arch ive/exampaper s /2008/
JC002ALPC00EV.pdf
(a) Which of the two poster s do you th ink conveys i t s message most
e f fect ive ly ?
Exp la in your answer wi th deta i led re ference to the poster. (20)
(b) Media Stud ies teaches us that the Media can be a powerfu l force for
change . Se lect ONE form of media (e .g . r ad io, te lev i s ion , newspaper s ,
in ternet , etc . ) and expla in how i t cou ld be used to combat r ac i sm. (20)
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2011 Jun ior Cer t i f i cate Higher Leve l Media Stud ies
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Answer e i ther Quest ion 1 or Quest ion 2 .
1. Look at the in fo rmat ion about newswor th iness that appear s on Page 3 o f
Paper X wh ich accompan ies th i s examinat ion paper. (The or ig ina l add
c a n b e d o w n l o a d e d a t h t t p : / / w w w . e x a m i n a t i o n s . i e / a r c h i v e /
exampaper s /2011/ JC002ALPC00EV.pdf )
(a) Th ink of a major news s tor y which has captured your at tent ion in
the las t twelve months .
For me , the news s tor y that most captured my at tent ion in the
las t twelve months was the supposed Mayan Apoca lypse . On the 21 s t o f
December 2012 , the end of the Mayan long count ca lendar occur red .
Known in Mayan as b ’ak ’ tun , th i s date mar ked the end of a 144 ,000 day
cyc le which many people feared would br ing about the end of human
c iv i l i zat ion .
(b) Br ie f l y ident i f y the s to r y. Exp la in how th i s s to r y meets any th ree o f the
c r i te r ia fo r newswor th iness set out in the in fo rmat ion on Paper X . (20)
This s tor y met a number of the cr i ter ia for newswor th iness as set
out in the in format ion on Paper X. To beg in wi th , th i s end of the wor ld
s tor y ’s t iming was per fect . End of the wor ld s tor ies are perenn ia l . Each
year br ings wi th i t d i f ferent theor ies on how the wor ld i s go ing to face
i t s doom . The t im i n g o f t h i s s t o r y con t r i bu t ed g r e a t l y t o i t s
newswor th iness . People became fasc inated by the idea of the Mayan
long count ca lendar which encompasses a 26 ,000 year cyc le .
The s ign i f i cance of th i s s tor y was exagger ated because , i f i t were
to prove tr ue , then the ent i re p lanet cou ld have been a f fected .
Fur thermore , thousands of people f locked to Centr a l Amer ica and a
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v i l l age in Fr ance which was supposed to conta in a sa fe zone in order to
wi tness the apoca lypse . Th is lent the s tor y a g loba l appea l and
contr ibuted to i t s newswor th iness .
F ina l ly, the s tor y had enormous human in teres t because i t
appea led to our co l lect ive insecur i t ies concern ing the precar iousness of
human ex is tence . Many of the news repor ts center ing on th i s s tor y
focused on qu i r ky ta les of eccentr ic ind iv idua l s prepar ing for the end of
t ime .
(b) Major news s tor ies are gener a l ly covered across a var iety of media .
Out l ine the advantages and d isadvantages of fo l lowing a news s tor y
us ing at least two of the media l i s ted be low:
Technology
newspapers
Major news s tor ies are gener a l ly covered across a var iety of
media . The newspaper i s one of o ldest and most used medium for
convey ing news . The f i r s t newspaper, the Acta Diur na , was publ i shed in
59 B .C . in Rome . S ince then newspaper s have formed a centr a l par t o f
western cu l ture . The advantages of th i s medium are many. F i r s t ly, i t i s
cheap to produce and the inter face i s ver y easy to use . In format ion can
be tr ansmit ted to a wide aud ience of a l l ages and tar get mar kets . One
of the b iggest advantages of th i s medium i s that news i s covered in a
profess iona l and in-depth manner. Th is cer ta in ly the case wi th the
b road shee t newspape r s . The se pape r s a f fo rd t he con sumer t he
poss ib i l i ty o f read ing in formed and cons idered v iews and opin ions about
s tor ies which are newswor thy. However, the b iggest d i sadvantage to th i s
medium i s that i t o f ten lags beh ind the news-cyc le . Newspaper s cannot
react to qu ick ly chang ing s tor ies and as a resu l t o f ten fa i l to prov ide
break ing news .
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radio
The r ad io i s another long establ i shed medium for cover ing news s tor ies .
Unl ike newspaper s , r ad io s tat ions can react qu ick ly to break ing news ,
and in th i s sense , can remain on top of the news cyc le . However, in a
v i sua l age th i s medium is unable to prov ide the type of cover age that
many consumer s are seek ing .
television
Lowel l Thomas hosted the f i r s t -ever news broadcast on te lev i s ion in
1930 and the f i r s t regu lar ly scheduled te lev i s ion-news broadcast in
1940 in Amer ica . S ince then , te lev i s ion news has become the main
source of news for most people . Today, ent i re channe ls are devoted to
cover ing the news cyc le . As a resu l t , te lev i s ion news can react qu ick ly to
chang ing s tor ies and prov ide the v iewer wi th the type of v i sua l
exper ience that most people now expect . The b iggest d i sadvantage to
te lev i s ion news i s i t s cost . Progr ammes are expens ive to make and as a
resu l t are heav i ly dependent on adver t i s ing revenue . Th is can somet imes
p lace pressure on te lev i s ion news progr ammes to appea l to a wide
aud ience . Consequent ly, many te lev i s ion news progr ammes such as SKY
NEWS tend to sensat iona l i se s tor ies in an at tempt to win more v iewer s .
internet . (20)
This i s the newest of the four media ment ioned above . The
internet has revolut ion ised how news s tor ies are conveyed . News feeds ,
blogs , soc ia l networ k ing s i tes , v logs and tr ad i t iona l news prov ider s a l l
make use of th i s medium to convey s tor ies . I t s advantages are many. I t s
cheap, v i r tua l ly ub iqu i tous , easy to use and enter ta in ing . Of a l l the
media dedicated to news cover age th i s one can react most qu ick ly to an
ever chang ing news cyc le . One major d i sadvantage of th i s medium i s the
growth of unver i f i able so-ca l led c i t i zen journa l i sm. The recent conf l i c ts
in the ar ab wor ld have demonstr ated just how quick ly the internet can
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get news s tor y to mi l l ions o f peop le by by-pass ing government
restr ic t ions . However, i t i s o f ten ver y d i f f i cu l t to ver i fy the accur acy of
some of the news repor ts that appear on the internet . Fur thermore ,
internet s i tes are in such a hur r y to broadcast a news s tor y that they
ver y of ten fa i l to exerc i se due d i l i gence when check ing the provenance
of a s tor y.
Homework:
OR
2. (a) Wr i te the text of an adver t i sement to be broadcast on your loca l
r ad io s tat ion . Your adver t i sement should a im to conv ince more young
people to use the i r loca l l ibr ar y. (20)
(b) In addi t ion to the r ad io commerc ia l you have a l ready wr i t ten , how
e lse cou ld you use var ious media to e f fect ive ly promote the i r loca l
l ibr ar y to young people? You should re fer to at least two other forms
of media in your answer. (20)
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“PoetrySome quest ions and sample answer s for “Heid i wi th B lue Hair” .
1 . (a) From your read ing of th i s poem do you th ink the fa ther and
daughter have a good re lat ionsh ip? Exp la in your answer. (10)
From my read ing of th i s poem I th ink that the fa ther and daughter
have a ver y good re lat ionsh ip. I be l ieve th i s to be the case because
throughout the poem there i s ev idence that they speak to and respect
one another. In the th i rd s tanza , the speaker makes i t c lear that Heid i ’s
‘ f reedom- lov ing father ’ phoned the school on her beha l f . In the four th
s tanza , Heid i ’s fa ther in forms the school pr inc ipa l that they had
‘d i scussed ’ dy ing her ha i r w i th h im f i r s t . I t i s c lear f rom these
conver sat ions wi th the school , that Heid i ’s fa ther s tands up for and
suppor ts h i s daughter.
(b) Do you th ink th i s i s a sad or funny poem or both? Exp la in your
answer. (10)
I th ink th i s i s both a funny and a sad poem. I t i s c lear f rom the
nar r at ive that Heid i ’s mother i s dead and that her fa ther i s do ing h i s
best to r a i se h i s daughter on h i s own:
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I t wou ld have been unfa i r to ment ion
your mother ' s death , but that
sh immered beh ind the arguments .
I t makes me fee l sad to th ink of Heid i growing up wi thout her mother.
The poem is a l so qu i te funny. The poet pokes fun at the school r u les .
She makes i t c lear that Heid i ’s eyes are not in ‘a schoo l co lour ’ . Th is
makes the school school r u les regard ing Heid i ’s ha i r co lour appear
somewhat r id icu lous . F ina l ly, the descr ipt ion of Heid i ’s f r iend ’s ha i r dyed
in the school co lour s i s h i l a r ious :
Next day your b lack f r iend had her s done
i n grey, wh i te and f laxen ye l low –
I t made me laugh to th ink of the school ’s react ion to th i s ha i r co lour.
(c) Comment on the use of the under l ined word in one of the
fo l lowing l ines :
– your mother ’s death . . . sh immered beh ind the ar guments
– the teacher s twi t tered and gave in . (10)
I th ink ‘ tw i t tered ’ i s a mar ve lous choice of words to descr ibe how the
teacher s reacted to Heid i ’s blue ha i r. One can imag ine the i r h igh-
p i tched , exc i ted vo ices as they d i scussed th i s cha l lenged to the school
r u les . The poet care fu l ly chooses the word , so as to suggest , that the
school ’s ob ject ion to Heid i ’s ha i r i s fa int ly r id icu lous .
(i) From your read ing of the poem whose s ide do you th ink F leur
Adcock i s on? (20)
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Give reasons for your answer.
In my opin ion F leur Adcock i s f i rmly on Heid i ’s s ide . F i r s t ly, the school ’s
preoccupat ion wi th obser v ing r u les i s made to seem r id icu lous by the
poet . The teacher s seem to ignore Heid i ’s behav iour twi t ter ing and
concentr ate on the co lour of her ha i r :
‘ She ' s not a punk in her behav iour ;
i t ' s jus t a s ty le .’ (You wiped your eyes ,
a lso not in a schoo l co lour. )
By ment ion ing the fact that Heid i ’s eye co lour was a l so not the same as
the school co lour the poet pokes fun and the r u les . In the f i f th s tanza ,
the poet in forms us that Heid i ’s mother i s dead . I th ink that th i s puts
the school ’s ob ject ion to Heid i ’s ha i r co lour in context . The death of
her mother i s , in my opin ion , far more impor tant . Then in the f ina l
s tanza , the depict ion of Heid i ’s f r iend ’s ha i r in the school co lour s i s
h i l a r ious :
i n grey, wh i te and f laxen ye l low –
the schoo l co lour s prec i se l y :
The poem’s conc lus ion makes i t ver y c lear that the poet i s f i rmly on
Heid i ’s s ide .
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“Robert Frost
Rober t Frost looms as a g iant f i gure in the Amer ican l i ter ar y
l a n d s c a p e . B y c o n c e n t r a t i n g o n t h e l a n d s c a p e s , l a n g u a g e a n d
exper iences of Amer ica , h i s poetr y has done much to establ i sh an
Amer ican poet ic ident i ty. In fact , h i s wr y, countr i f ied , New Eng land
nar r at ive vo ice has of ten been pr a i sed as the qu intessent ia l vo ice of
Amer ican l i ter ature . His determinat ion to weave poetr y out of ever yday
exper ience d is t ingu ishes h im f rom most other poets of h i s age . His
poems are honest , open and autobiogr aph ica l , so much so that Frost
never rea l ly t i red of rete l l ing the s tor y of h i s own l i fe . He was a l so the
undisputed master of poet ic forms . Wr i t ing in a per iod dominated by
f ree ver se , in a t ime when poetr y seemed to have g iven up on
punctuat ion and cap i ta l le t ter s , Frost ins i s ted that poetr y have a def in i te
form, that i t be dr amat ic and that i t re ly on vo ice tones to var y the
e f fect of i t s rhythms . I f you are read ing the poetr y of Rober t Frost for
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the f i r s t t ime , one of the th ings that should s t r ike you str a ight away i s
that h i s poems are decept ive . What at f i r s t appear s to be a s imple
nature poem wi l l o f ten y ie ld complex and interest ing interpretat ions .
The Tuft Of FlowersI went to turn the gr ass once a f ter one
Who mowed i t in the dew before the sun .
The dew was gone that made h i s blade so keen
Before I came to v iew the leve led scene .
I looked for h im behind an i s le of t rees ; 5
I l i s tened for h i s whetstone on the breeze .
But he had gone h i s way, the gr ass a l l mown,
And I must be , as he had been—alone ,
“As a l l must be ,” I sa id wi th in my hear t ,
“Whether they wor k together or apar t .” 10
But as I sa id i t , swi f t there passed me by
On noise less wing a bewi ldered butter f ly,
Seek ing wi th memor ies grown d im o ’er n ight
Some rest ing f lower of yesterday ’s de l ight .
And once I mar ked h i s f l i ght go round and round, 15
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As where some f lower lay wi ther ing on the ground.
And then he f lew as far as eye cou ld see ,
And then on tremulous wing came back to me .
I thought of quest ions that have no rep ly,
And would have turned to toss the gr ass to dr y ; 20
But he turned f i r s t , and led my eye to look
At a ta l l tu f t o f f lower s bes ide a brook ,
A leap ing tongue of bloom the scythe had spared
Bes ide a reedy brook the scythe had bared .
The mower in the dew had loved them thus , 25
By leav ing them to f lour i sh , not for us ,
Nor yet to dr aw one thought of our s to h im,
But f rom sheer morn ing g ladness at the br im.
The butter f ly and I had l i t upon,
Never the less , a message f rom the dawn, 30
That made me hear the waken ing b i rds around,
And hear h i s long scythe whisper ing to the ground,
And fee l a sp i r i t k indred to my own;
So that hencefor th I wor ked no more a lone ;
But g lad wi th h im, I wor ked as wi th h i s a id , 35
And wear y, sought at noon with h im the shade ;
And dreaming , as i t were , he ld brother ly speech
With one whose thought I had not hoped to reach .
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“Men wor k together,” I to ld h im f rom the hear t ,
“Whether they wor k together or apar t .” 40
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1 to turn the gr ass – to toss gr ass so that
i t wi l l dr y.
2 dew – mois ture that i s depos i ted f rom
the a i r in smal l drops on p lants , espec ia l ly
at n ight .
3 keen – enthus ias t ic , sharp.
6 whetstone – a s tone on which the
gardener would sharpen the blade of h i s
kn i fe or h i s scythe .
12 bew i l de red – con fu sed , d a zed o r
d i sor ientated .
13 grown d im – become fa int or dar k .
18 t remulous – qu iver ing or t rembl ing .
22 brook – a smal l s t ream.
23 A leap ing tongue of bloom – perhaps
the speaker i s echoing the B ible here . In
the B ible , a tongue of f l ames descended
on the Apost les (Chr i s t ’s fo l lower s) . For
t h e s p e a k e r ( a n d , i n d e e d , f o r t h e
butter f ly ) , the tu f t o f f lower s of fer s a
moment of ins ight and insp i r at ion that
br ings h im into c loser harmony wi th the
natur a l wor ld .
24 scythe – a long , cur ved blade used for
mowing long gr ass .
26 to f lour i sh – to grow in abundance or
to thr ive .
29 l i t upon – met or came upon.
33 k indred – ver y c lose or s imi lar to.
33 a sp i r i t k indred to my own – here , the
speaker fee l s so c lose to the absent
gardener that i t i s as i f they are wor k ing
in the f ie ld together.
Glossary _____________________________________________________________________
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Critical Commentary: The Tuft of Flowers
1. Content_______________________________________________________________
F i r s t publ i shed in the co l lect ion A Boy ’s Wi l l , ‘The Tuf t o f F lower s ’
rev i s i t s one of Frost ’s favour i te sub jects : the wor k assoc iated wi th
haymak ing . In th i s poem, Frost moves f rom a be l ie f that a l l men are
ind iv idua l s , lead ing separ ate l i ves , to a conv ict ion that we a l l share a
common bond of humani ty. In the opening s tanza , the poet te l l s us that
he went down ‘ to turn the grass ’ , so that i t would dr y. Th is gr ass had
a l ready been ‘mowed […] in the dew before the sun ’ by an unnamed
per son . In the second hero ic couplet , the speaker makes i t c lear that
some hour s have passed s ince th i s per son wor ked in the f ie ld .
Never the less , the speaker looks and l i s tens for s igns of the wor ker :
I looked for h im beh ind an i s le o f t rees ;
I l i s tened for h i s whets tone on the breeze .
I t soon becomes apparent that th i s man ‘had gone h i s way ’ once h i s
wor k was f in i shed . The speaker i s le f t complete ly on h i s own. In the f i f th
couplet , he contemplates the impl icat ions of h i s so l i tude and comes to
the conc lus ion that u l t imate ly a l l men are a lone , ‘Whether they work
together or apar t ’ . At that moment , a ‘bewi ldered but ter f l y ’ s tumbles into
the poet ’s v iew. In the speaker ’s imag inat ion , the butter f ly i s dr awn to
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th i s p lace by the d im memor y of the f lower i t v i s i ted the prev ious day.
However, in the next couplet , we learn that that f lower has been
mowed and l ies wi ther ing on the ground. Confused and lost , the
creature f l ies ‘ round and round ’ unt i l i t a lmost van ishes f rom the poet ’s
s ight . The butter f ly returns to the speaker ’s l ine of v i s ion . Th is causes
the poet to ponder over ‘quest ions that have no rep ly ’ . Unable to come
up with sat i s factor y answer s to these unspec i f ied quest ions , the speaker
turns to ‘ toss the grass to dr y ’ . Then , suddenly, in the e leventh and
twel f th s tanzas , the poet has a profound moment of ep iphany , or
reve lat ion . As he turns to look in the d i rect ion of the brook , he has an
a lmost re l ig ious , or sp i r i tua l , awakening . The s ight of the f lower s that
have been unharmed by the wor ker who mowed the gr ass on the
prev ious day moves the poet deeply. He now rea l i ses that ‘The mower in
the dew had loved them thus , | By leav ing them to f lour i sh , not for us ’ . The
speaker now fee ls that he i s l inked to the wor ker. The ar r iva l o f the
butter f ly and the s ight of the unharmed f lower s lead h im to be l ieve that
he can see and hear the mower. You wi l l remember that th i s i s
someth ing he in i t ia l ly fe l t unable to do. The intens i ty of the speaker ’s
fee l ings grows unt i l he fee l s :
[…] a sp i r i t k indred to my own;
So that hencefor th I worked no more a lone ;
No longer a lone , the poet now imag ines h imse l f wor k ing wi th the man.
Uni ted by a common bond of f r aterna l love , he addresses h i s fe l low
wor ker d i rect ly :
“Men work together,” I to ld h im f rom the hear t ,
“Whether they work together or apar t .”
The poem’s f ina l hero ic coup le t rever ses the speaker ’s prev ious be l ie f
that we are a l l a lone and separ ate .
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The Road Not TakenTwo roads d iver ged in a ye l low wood,
And sor r y I cou ld not t r ave l both
And be one tr ave ler, long I s tood
And looked down one as far as I cou ld
To where i t bent in the undergrowth ; 5
Then took the other, as jus t as fa i r,
And hav ing perhaps the better c la im,
Because i t was gr assy and wanted wear ;
Though as for that , the pass ing there
Had worn them rea l ly about the same , 10
And both that morn ing equa l ly lay
In leaves no step had trodden black .
Oh, I kept the f i r s t for another day !
Yet knowing how way leads on to way,
I doubted i f I should ever come back . 15
I sha l l be te l l ing th i s wi th a s igh
Somewhere ages and ages hence :
Two roads d iver ged in a wood, and I —
I took the one less t r ave led by,
And that has made a l l the d i f ference . 20
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In th i s poem, Frost forces us to
interpret the choice that he faces on
a symbol ic leve l . The fact that the
poet in tends us to react in th i s
manner i s obv ious f rom the degree
of impor tance he at taches to th i s
choice in the las t s tanza . 1 d iver ged
– s e p a r a t e d , w e n t i n d i f f e r e n t
d i rect ions . Th is , o f cour se , adds a
cer ta in degree of ur gency to the
poet ’s choice . 1 ye l low wood – the
t ime of the year i s autumn. Th is t ime
of year has of ten been assoc iated
wi th the approach of o ld age .
5 the undergrowth – the vegetat ion
growing a the base of the t rees .
8 wanted wear – the path had not
been walked on recent ly.
12 t rodden – walked on .
16 I sha l l be te l l ing th i s wi th a s igh –
by us ing the future tense here , the
poet i s imply ing that the journey has
not yet ended.
17 ages hence – in a long t ime to
Glossary _____________________________________________________________________
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Critical Commentary: The Road Not Taken.
‘The Road Not Taken ’ , which Frost c la imed was insp i red by h i s
f r iend Edward Thomas , i s perhaps one of the best-known poems in the
Eng l i sh language . I t opens wi th a ver y s t r a ight forward s tatement :
Two roads d iverged in a ye l low wood
I t i s autumn and the speaker, s tand ing at a for k in the road , i s faced wi th
a choice . He can take e i ther road and there i s noth ing prevent ing h im
f rom doing so. He would l i ke to t r ave l both roads but , o f cour se , th i s i s
s imply not poss ible . The speaker f i r s t s tares down one road to ‘where i t
bent in the undergrowth ’ . Unwi l l ing to commit to th i s road , he dec ides to
assess the other road . In the second stanza , he te l l s us that th i s road i s
jus t as fa i r as the prev ious one . However, g iven that i t i s gr assy, the poet
in fer s that i t i s less t r ave l led than the other path . In the f ina l l ine of the
second stanza , he admits that ‘ the pass ing there | Had [ in t ruth] worn
them rea l l y about the same ’ . In the th i rd s tanza , i t becomes c lear that
the poet has committed h imse l f to fo l lowing one of the roads . He
beg ins h i s journey in the morn ing :
Yet knowing how way leads on to way,
I doubted i f I shou ld ever come back .
The f ina l s tanza looks forward to a t ime ‘ages hence ’ when he ‘sha l l be
te l l ing [h i s s tor y] w i th a s igh ’ . H is choice has been made and he has
taken ‘ the [ road] less t rave led by ’ . Th is l i fe-a l ter ing choice ‘has made a l l
the d i f ference ’ .
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Out Out _______________________________________________________________
The buzz saw snar led and r at t led in the yard
And made dust and dropped stove- length s t icks of wood,
Sweet-scented s tu f f when the breeze drew across i t .
And f rom there those that l i f ted eyes cou ld count
F ive mounta in r anges one beh ind the other 5
Under the sunset far into Vermont .
And the saw snar led and r at t led , snar led and r at t led ,
As i t r an l i ght , or had to bear a load .
And noth ing happened: day was a l l but done .
Ca l l i t a day, I wish they might have sa id 10
To p lease the boy by g iv ing h im the ha l f hour
That a boy counts so much when saved f rom wor k .
His s i s ter s tood bes ide them in her apron
To te l l them “Supper.” At the word , the saw,
As i f to prove saws knew what supper meant , 15
Leaped out at the boy ’s hand , or seemed to leap—
He must have g iven the hand . However i t was ,
Nei ther re fused the meet ing . But the hand !
The boy ’s f i r s t outcr y was a r uefu l l augh ,
As he swung toward them hold ing up the hand , 20
Hal f in appea l , but ha l f as i f to keep
The l i fe f rom sp i l l ing . Then the boy saw a l l—
Since he was o ld enough to know, b ig boy
Doing a man ’s wor k , though a ch i ld at hear t—
He saw a l l spo i led . “Don’ t le t h im cut my hand of f— 25
The doctor, when he comes . Don’ t le t h im, s i s ter ! ”
So. But the hand was gone a l ready.
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The doctor put h im in the dar k of ether.
He lay and puf fed h i s l ips out wi th h i s breath .
And then—the watcher at h i s pu lse took f r ight . 30
No one be l ieved . They l i s tened at h i s hear t .
L i t t le—less—noth ing !—and that ended i t .
No more to bu i ld on there . And they, s ince they
Were not the one dead , turned to the i r a f fa i r s .
Critical Commentary: Out Out
1. Content_______________________________________________________________
‘ “Out , Out—”’ dea ls wi th the t r ag ic death of a young boy who d ies as a
resu l t o f cut t ing h i s hand us ing a saw. The poem opens wi th the sound
of the saw as i t ‘snar led and rat t led in the yard | And made dust and
dropped s tove - length s t i c ks o f wood ’ . The dust thrown up by the saw i s
sweet-smel l ing and , in the background, the sun i s set t ing over the ‘F ive
mounta in ranges ’ o f Vermont . The saw sets to i t s task wi th ease . The
day ’s wor k ‘ [ i s ] a l l but done ’ . The nar r ator inter r upts the nar r at ive to
beseech them to g ive the boy a break f rom h is wor k . Th is i s the f i r s t
h int in the poem that someth ing dreadfu l i s about to happen . His s i s ter
then ar r ives to te l l the boy that h i s supper i s ready. As i f to prove that
i t under stood ‘what supper meant ’ , the saw ‘seemed to leap ’ out at the
boy ’s hand . The boy ’s hand i s taken by the saw and h i s on ly react ion i s
to of fer a ‘ ruefu l laugh ’ . However, owing to h i s age , the boy i s fu l ly
aware of the ser iousness of h i s s i tuat ion . He i s , a f ter a l l , a ‘b ig boy |
Do ing a man’s work ’ . The ar r iva l o f the doctor in l ine 28 br ings wi th i t
the f i r s t h int that he may d ie . The doctor p laces the boy in the ‘dark of
e ther ’ . S lowly, the boy ’s hear tbeat becomes fa inter and fa inter unt i l
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there i s ‘noth ing ’ and the boy i s dead . The other s , ‘s ince they | Were not
the one dead ’ , get on with the bus iness of l i v ing the i r l i ves .
2. Stylistic Features_______________________________________________________________
One of the most impor tant features of ‘ “Out , Out—”’ i s i t s t i t le , which
conta ins an a l lus ion to one of the most famous so l i loqu ies in a l l o f
Eng l i sh l i ter ature . I t a l ludes to a passage in “Macbeth” in which Macbeth
has jus t been to ld of h i s wi fe ’s death . The key moment in th i s speech i s
ar r ived at when Macbeth under scores the t r ag ic brev i ty of human l i fe .
She shou ld have d ied hereaf ter ;
There wou ld have been a t ime for such a word .
To-morrow, and to -morrow, and to -morrow,
Creeps in th i s pet ty pace f rom day to day,
To the las t sy l lab le o f recorded t ime ;
And a l l our yes terdays have l i ghted foo l s
The way to dusty death . Out , out , br ie f cand le !
L i fe ’s but a wa lk ing shadow, a poor p layer,
That s t ruts and f re ts h i s hour upon the s tage ,
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And then i s heard no more . I t i s a ta le
Told by an id io t , fu l l o f sound and fur y,
S ign i f y ing noth ing .
In th i s sense , the t i t le captures per fect ly the fu l l mean ing of th i s poem.
By means of th i s a l lus ion , Frost not on ly re in forces the emot ions
conta ined in the poem, but a l so he lps to define i t s theme . The theme of
‘ “Out , Out—”’ i s , o f cour se , the uncer ta inty and unpred ictab i l i ty o f l i fe .
The opening of the poem attempts to capture the sound of the buzz
saw. I t r at t les and snar l s and i s made to sound menac ing . In order to
dr aw us into the nar r at ive , Frost appea ls to a l l o f the senses . We can
fee l the breeze as i t dr aws across s t icks of wood and the scent of the
cut wood assa i l s our sense of smel l . Another e f fect ive feature of the
poem is the manner in which the saw i s per son i f ied . By g iv ing the saw
human at t r ibutes , Frost increases the emot iona l impact of the poem. The
boy doesn ’ t drop the saw, i t ‘ l eap[s] out at [h i s ] hand ’ . Th is makes the
saw seem aggress ive and the boy, in turn , i s made to seem an innocent
v ic t im of th i s aggress ion . In a s imi lar fash ion , Frost makes use of
metonymy ( the use of someth ing c lose ly re la ted in p lace of the th ing
actua l ly meant) when he descr ibes the in jured boy hold ing up h i s cut
hand : ‘as i f to keep | The l i fe f rom sp i l l ing ’ . Here , the poet l i ter a l ly means
to keep the blood f rom sp i l l ing , but by subst i tut ing the word ‘ l i fe ’ for
blood, the poem ga ins in c lar i ty, force and emot iona l intens i ty. Th is
emot iona l intens i ty i s mir rored in the poem’s constr uct ion . ‘ “Out , Out
—”’ i s a nar r at ive in blank ver se , conta ined with in a cont inuous
s t r ucture . There are no stanzas and no phys ica l breaks in the poem. By
not s t r uctur ing the poem in a formal manner, Frost does not at tempt to
confine the emot iona l response of the reader. F ina l ly, whi le the poem
provokes an emot iona l response in i t s reader s , i t s tone i s a t a l l t imes
imper sona l . The nar r ator s imply re la tes the t r uth of the boy ’s acc ident
and death in a s t r a ight forward manner. I t i s le f t to us to respond
emot iona l ly to the event descr ibed .
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Poetry Versus Prose
Having read and s tud ied th i s poem, cons ider how the language of
poetr y d i f fer s f rom the ord inar y prose . Th is i s the news s tor y that
insp i red Frost ’s poem.
The March 31 , 1910 , ed i t ion of The L i t t le ton Cour ier of L i t t le ton , New
Hampsh i re , car r ied the fo l lowing s tor y :
Raymond Tracy F i tzger a ld , one of the twin sons of Michae l G. And
Margaret F i tzger a ld of Beth lehem, d ied at h i s home Thur sday a f ternoon,
March 24 , as a resu l t o f an acc ident by which one of h i s hands was
bad ly hur t in a sawing mach ine . The young man was ass i s t ing in sawing
up some wood in h i s own door yard wi th a sawing mach ine and
acc identa l ly h i t the loose pu l ley, caus ing the saw to descend upon h is
hand , cutt ing and lacer at ing i t bad ly. Raymond was taken into the house
and a phys ic ian was immediate ly summoned, but he d ied ver y suddenly
f rom the e f fects of the shock , which produced hear t fa i lure […] March
31 , 1910 .
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