"The Road Not Taken" a Philosophical Poet by Robert Frost

This further separates him from the road that early(a)s do restrain and isolates him even more over time as he takes different roads away from the mainstream. This was an important decisions, and it is implied that it was the unspoiled decision:

And that has made all the difference (19-20).

The argument in this poem is developed in four stanzas of five liens each. The poetry pattern is ABAAB in each stanza. The meter is iambic tetrameter. The beginning(a) stanza presents the situation--the traveler finds himself in the wood and has to make a alternative between two roads. The necessity of making this choice is emphasized, though it is clear the traveler would be happy if he could take both roads and so have a double experience:

This is, of course, impossible, so the traveler stands and looks first down unmatchable road, then down the other, trying to decide which to take. Frost's descriptions create a strong vision of the scene in front of the loudspeaker. The speaker sees the first road disappear in the undergrowth, while the other road is grassy and seems not to have been employ as much. This is the road that appeals to him from the first, for he says it has "perhaps the better claim" (7). all the same at some level, the two choices are equal, especially on this morning when both are covered with leaves on which no one has trod.

Bernard, Bruce. Van van van Gogh. bran-new York: Dorling Kindersley, 1992.

Constantin Brancusi undertakes a philosophical, spiritual, and psychological journey in his sculpture The Prayer, the encounter seen as the first expression of his maturity as an artist. The bat is striking in its seeming simplicity, but it brings together a number of elements that extend its meaning and appeal to the emotions of the viewer.

The work produced was The spud Eaters, and Van Gogh considered it among his very best works. It has a entangled narrative detail that makes it different from his other depictions of peasant lifetime: "Never in art had respect for labor been rather so imaginatively conveyed" (Bernard 22).

Van Gogh employ a dark palette for this work, and the palette he employ was influenced by the cost and availability of painting materials as well as by the bleak nature of the Nuenen landscape. The work used greenish people of colours that would not have appealed to the art dealers of Paris. Van Gogh said that the work should be displayed in a bills or copper frame or against golden cover so as to echo his painted high lighters. The colors used were black, olive green, raw umber, pale ocher, and raw sienna. The artist used the lamp and the pale lighting from that lamp as a rationale for defining the shadows in the work to produce the effect desired. Van Gogh paints in the manner of Rembrandt, from flat dark to impasted light. The background color in this picture contains subtle modulations of gray, blue, and brown, and this is similar to the method used by Rembrandt. The lamp is not central in the painting, but it is a central symbol as both a light and a focal point, giving the entire scene the strain of a nativity. Orange streaks of paint are used to go forth an essential touch of warmth. The girl in the center is seen precisely from behind, and the dark silhouette of her back provides a center of gravity. thither is a tentative halo of steam from the potatoes on the prorogue which forms
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