''Out , Out–'' by Robert Lee Frost
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The buzz-saw snarled and rattled in the yard
And made dust and dropped stove-length sticks of wood,
Sweet-scented stuff when the breeze drew across it.
And from there those that lifted eyes could count
Five mountain ranges one behind the other
Under the sunset far into Vermont.
And the saw snarled and rattled, snarled and rattled,
As it ran light, or had to bear a load.
And nothing happened: day was all but done.
Call it a day, I wish they might have said
To please the boy by giving him the half hour
That a boy counts so much when saved from work.
His sister stood beside them in her apron
To tell them "Supper." At the word, the saw,
As if to prove saws knew what supper meant,
Leaped out at the boy's hand, or seemed to leap--
He must have given the hand. However it was,
Neither refused the meeting. But the hand!
The boy's first outcry was a rueful laugh,
As he swung toward them holding up the hand
Half in appeal, but half as if to keep
The life from spilling. Then the boy saw all--
Since he was old enough to know, big boy
Doing a man's work, though a child at heart--
He saw all spoiled. "Don't let him cut my hand off--
The doctor, when he comes. Don't let him, sister!"
So. But the hand was gone already.
The doctor put him in the dark of ether.
He lay and puffed his lips out with his breath.
And then--the watcher at his pulse took fright.
No one believed. They listened at his heart.
Little--less--nothing!--and that ended it.
No more to build on there. And they, since they
Were not the one dead, turned to their affairs.
Editor 1 Interpretation
Out, Out– by Robert Frost: A Masterpiece of Tragic Realism
Have you ever come across a poem that just leaves you feeling like you've been hit by a freight train? That's how I feel about Robert Frost's "Out, Out–". This haunting and tragic poem is a masterpiece of poetic realism, weaving together themes of mortality, loss, and the harsh realities of life in rural New England. In this literary criticism and interpretation, we'll dive deep into the layers of meaning in this classic poem, examining its structure, language, and imagery to uncover the emotions that lie beneath.
Context and Background
Before we jump into the poem itself, it's important to understand the context in which it was written. Frost was born in San Francisco in 1874, but spent much of his adult life in rural New England, where he wrote many of his most famous works. "Out, Out–" was published in 1916 as part of his collection "Mountain Interval", and is based on a true story that Frost heard about a young boy who died in a sawmill accident. The poem's title is taken from Shakespeare's Macbeth, specifically the famous line "Out, out, brief candle!" spoken by Macbeth upon hearing of Lady Macbeth's death. This connection to Shakespeare is significant, as it suggests that Frost is placing this tragedy on the same level as the most famous works of Western literature.
Structure and Form
"Out, Out–" is a free verse poem, meaning that it doesn't follow a strict rhyme or meter scheme. However, Frost's use of repetition and enjambment give the poem a musical quality, with certain phrases and words echoing throughout the lines. The poem is divided into two stanzas, with the first stanza setting the scene and the second describing the boy's death.
The first stanza begins with a description of the setting, with the "five mountain ranges" and the "sunset far into Vermont" setting a peaceful and idyllic scene. However, this tranquility is soon interrupted by the sound of the saw, which "snarled and rattled" through the air. This jarring contrast between the beauty of the landscape and the harshness of the saw's sound sets the tone for the rest of the poem.
The second stanza is where the tragedy unfolds, as we see the young boy's hand "cut off" by the saw. The repetition of the word "snarled" creates a sense of chaos and confusion, as if the world itself is rebelling against this injustice. The boy's desperate plea to his sister to "don't let him cut my hand off" is heart-wrenching, and the fact that his cries go unheeded only adds to the sense of helplessness and tragedy.
The final lines of the poem, with the boy's life "spilling" out of him and the saw "leaping" out of his hand, are almost too much to bear. The use of personification, with the saw taking on a life of its own, is particularly effective in conveying the sense of horror and shock that the characters (and the reader) feel.
Themes and Symbolism
At its core, "Out, Out–" is a meditation on mortality and the fragility of human life. The boy's death is sudden and senseless, a reminder that life can be snuffed out in an instant. The fact that the boy is so young (only "a child at heart") adds an extra layer of tragedy, as we are forced to confront the idea that death can come for anyone, no matter how innocent or unprepared.
The saw itself can be seen as a symbol of technology and progress, and the dangers that come with them. The image of the saw "snarling" like an animal suggests that it is a force to be reckoned with, something that can't be controlled or tamed. The fact that the boy's death is caused by a machine rather than a person adds to the sense of impersonal violence and injustice.
The landscape of rural New England, with its mountains and forests, can be seen as a symbol of the natural world. The fact that the boy's death takes place in the midst of this beauty only underscores the tragedy, as if the natural world itself is indifferent to human suffering.
Language and Imagery
One of the most striking aspects of "Out, Out–" is Frost's use of vivid and visceral imagery. The sound of the saw "snarling", the boy's hand "leaping" out of his body, and the "sweet-scented stuff" of the sawdust all create a sense of immediacy and realism. Frost doesn't shy away from the gruesome details of the boy's death, but instead uses them to draw the reader into the scene and make them feel as if they are witnessing the tragedy firsthand.
The repetition of certain words and phrases, such as "snarled" and "leaped", creates a sense of rhythm and momentum, as if the poem itself is hurtling towards the inevitable conclusion. The fact that the poem is written in free verse means that Frost has more freedom to experiment with language and imagery, and he takes full advantage of this to create a work that is both beautiful and haunting.
Conclusion
"Out, Out–" is a masterpiece of tragic realism, a poem that captures the harsh realities of life in rural New England while also touching on universal themes of mortality and loss. Frost's use of vivid imagery and free verse structure creates a work that is both beautiful and devastating, a reminder that life is fleeting and precious. As we read this poem, we are forced to confront the fragility of our own existence, and to grapple with the question of how we can make the most of our time in this world.
So, if you haven't read "Out, Out–" yet, what are you waiting for? This is a poem that will stay with you long after you've finished reading it, a testament to the power of language and the human capacity for empathy and understanding.
Editor 2 Analysis and Explanation
Out, Out– by Robert Lee Frost: A Heartbreaking Tale of Life and Death
Robert Lee Frost, one of the most celebrated poets of the 20th century, is known for his ability to capture the essence of human emotions in his works. His poem, Out, Out–, is a heart-wrenching tale of life and death, set in the rural countryside of New England. The poem is a commentary on the fragility of life and the suddenness with which it can be taken away. In this analysis, we will explore the themes, imagery, and literary devices used in the poem to understand its deeper meaning.
The poem begins with a description of a young boy, who is working with a buzz saw in the yard. The buzz saw is described as "snarling and rattling" and the boy is "a boy doing a man's work". This sets the tone for the poem, which is one of danger and foreboding. The boy is described as being "a child at heart", which emphasizes his innocence and vulnerability.
The first stanza of the poem is filled with vivid imagery, which sets the scene for the tragedy that is about to unfold. The buzz saw is described as "leaping" and "snarling", which creates a sense of danger and unpredictability. The boy's hand is described as being "like the hand of a boy", which emphasizes his youth and inexperience. The use of the word "boy" throughout the poem is significant, as it highlights the fact that the boy is not yet a man and is not fully aware of the dangers of the world.
The second stanza of the poem is where the tragedy occurs. The boy's hand is caught in the buzz saw and he screams out in pain. The description of the accident is graphic and disturbing, with the saw "snarling and rattling" as it cuts through the boy's hand. The use of the word "snarling" is particularly effective, as it creates a sense of the saw as a living, breathing creature that is attacking the boy.
The third stanza of the poem is where the tone shifts from one of danger and foreboding to one of sadness and regret. The boy's sister comes out to see what has happened and she is described as being "too young" to understand the seriousness of the situation. The use of the word "too" emphasizes the fact that the sister is not yet mature enough to fully comprehend the tragedy that has occurred.
The fourth stanza of the poem is where the boy dies. The doctor arrives and tries to save the boy's life, but it is too late. The boy's life is described as "spilling" out of him, which creates a sense of the suddenness with which life can be taken away. The use of the word "spilling" is also significant, as it creates a sense of something that is being wasted or lost.
The final stanza of the poem is where the theme of the fragility of life is emphasized. The boy's death is described as being "not the first" and it is suggested that it will not be the last. The use of the word "first" implies that there have been other deaths in the community, which creates a sense of the inevitability of death. The final line of the poem, "And they, since they were not the one dead, turned to their affairs", is particularly poignant. It emphasizes the fact that life goes on, even in the face of tragedy.
The imagery used in the poem is particularly effective in creating a sense of danger and foreboding. The buzz saw is described as "snarling" and "rattling", which creates a sense of something that is alive and dangerous. The use of the word "snarling" is particularly effective, as it creates a sense of the saw as a living, breathing creature that is attacking the boy. The description of the accident is also graphic and disturbing, with the saw "snarling and rattling" as it cuts through the boy's hand.
The use of literary devices in the poem is also significant. The repetition of the word "boy" throughout the poem emphasizes the fact that the boy is not yet a man and is not fully aware of the dangers of the world. The use of the word "spilling" to describe the boy's life creates a sense of something that is being wasted or lost. The final line of the poem, "And they, since they were not the one dead, turned to their affairs", is an example of irony. It emphasizes the fact that life goes on, even in the face of tragedy.
In conclusion, Out, Out– by Robert Lee Frost is a heart-wrenching tale of life and death. The poem is a commentary on the fragility of life and the suddenness with which it can be taken away. The use of vivid imagery and literary devices creates a sense of danger and foreboding, while the final line of the poem emphasizes the fact that life goes on, even in the face of tragedy. This poem is a powerful reminder of the importance of cherishing every moment of life, as it can be taken away in an instant.
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