Most of his poems already shared his message, that life is not as easy as it may first appear to be. He used the simplicity of nature and vernacular speech to give his poems a casual mood, though underneath they display a much deeper meaning of life. These poems help to show people just some of the difficult things…. Upon reading the first line, not unlike the whole poem, a joke in tone, rhythm is building up an image that grows into something else.
Frost uses imagery, allegory, and characterization to accomplish what could only be described as an American emblem poem.
The speaker realizes that the scythe is teaching him a lesson about the value of…. Essays Essays FlashCards. Browse Essays. Show More. Read More.
Out, Out by Robert Frost Essay | Essay
Words: - Pages: 5. Words: - Pages: 3. Words: - Pages: 4. Words: - Pages:. Words: - Pages: 9. Words: - Pages: 8. Popular Essays. Ready To Get Started? Create Flashcards. Discover Create Flashcards Mobile apps. Noisy mechanical machine, silent majesty of the Vermont range. Close up focus versus distant blur. Industry against nature. Dust and labor versus sweet scent and romance. The first nine objective lines sketch the scene into which the personal voice of the speaker is heard for the first and last time, the tenth line, which runs on into the eleventh and twelfth through use of enjambment:.
The speaker's stance here is one of compassion and reason and contrasts strongly with the ending, where so much cold indifference to the plight of the boy is expressed. A definite turning point of the poem occurs in line 14 when the sister announces 'Supper' which triggers a radical change in circumstance for the boy. Note the focus of the speaker during this time - it's as if the speaker was actually there to witness the saw as it 'leaped' out and cut into the boy's flesh. There is astute use of caesura in these lines, end stops midway causing the reader to pause, a result of the work stopping when the saw struck and the shock no doubt set in.
The boy's 'rueful laugh' seems pitiful. You can picture him stepping away from the bloodied saw blade holding his near severed hand, seeking some kind of solace and solution. There is none to be found. It's ironic that a sister should be at the heart of the accident, calling the workers for a meal and perhaps distracting the boy in the process.
Life for a farming family back then must have been tough enough without a potentially fatal accident to cope with. The boy knows. He's at that transitional point between child and man; not physically strong enough to withstand the shock but grown up enough to understand the dire circumstances he's in. In a last desperate appeal to his sister he demands the doctor save his hand, somehow, not to cut it off so leaving him disabled for the rest of his working life.
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There is a time gap between line 27 and 28, when the doctor gives the boy ether to numb the pain and render him unconscious. The reader can only assume that the boy lost too much blood whilst waiting for the doctor to arrive. Soon the boy's heart stops beating, much to the disbelief of those present who we know are the doctor, the sister and the mystery 'watcher' who takes fright. The final two lines are a challenge for the conscience of the reader. The cold stark reality of No more to build on there Those gathered simply abandon the deceased, or at least, that's the impression given.
Out, Out by Robert Frost Essay | Essay
They each go about their business, painted as selfish, glad that they were the ones alive able to face living without having to acknowledge for too long, or any time at all, the unfortunate victim. Metrically it is a loose iambic poem, which Frost much preferred when writing blank verse. Pyrrhic, trochaic, spondaic plus anapaestic feet are also involved.
The double stress of the spondee adds energy, disrupts the familiar iambic rhythm, whilst the pyrrhic has no stressed syllables, creating a lull which is followed again by a second spondaic surge. This line is iambic pentameter but has the extra unstressed syllable at the end, called a feminine ending, which makes the voice drop away, fade away. The trochee gives an initial stress No one When words are close together in a line and start with the same consonant they are alliterative.
Frost used alliteration quite frequently. This can add texture and phonetic energy for the reader:. Sweet-scented stuff.. Then the And they, since they.. This is repeated use of the same vowel sounds in words that are close together in a line. It compliments alliteration in some cases. Under the sunset A pause in a line usually created by punctuation but may happen naturally in longer lines. In Frost's poem there are quite a few caesurae, causing the reader to pause as they read, breaking rhythm and pace. Where a line runs on into the next line without punctuation, maintaining the sense, reflecting momentum and building up ideas.
Frost uses it to good effect in this poem in several lines:. When an object or thing is given human characteristics, as in the first line and lines seven and sixteen:. Repeating certain words and phrases reinforces the meaning and strengthens sound. Look for it in lines 1 and 7 where the buzz saw snarled and rattled. Individual words such as boy, day, hand and the phrase ' Don't let him Sign in or sign up and post using a HubPages Network account.
Comments are not for promoting your articles or other sites. I'm an experimental dabbler. A hit and miss composer. What I love is to deconstruct poems like Frost's Out, Out and so learn how they put it all together. But in the end the poem is there to be read and enjoyed and hopefully understood. Sharing my research is important. Life as a farm worker in New England was tough back then.
Frost knew the life intimately and gave us solid poems like Out, Out to preserve it for the future. Nice analysis and very well written. Very interesting to read about the literary devices as well. Are you a poet yourself? What a sad tale this Robert Frost poem portrays.
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This is my first time reading it. Your analysis of poetry is always enlightening. Other product and company names shown may be trademarks of their respective owners. HubPages and Hubbers authors may earn revenue on this page based on affiliate relationships and advertisements with partners including Amazon, Google, and others.
HubPages Inc, a part of Maven Inc. As a user in the EEA, your approval is needed on a few things. To provide a better website experience, owlcation. Please choose which areas of our service you consent to our doing so. Andrew Spacey more. The poem, 34 lines long, has three distinct sections: The first nine lines juxtapose buzz saw and mountain landscape. Here is a team hard at work, too busy cutting logs for winter to notice their surroundings. Then lines 10 - 26 focus on the boy and the accident, the reader aware of the compassionate, personal voice of the speaker coming through as the awful details emerge.
Finally, lines 27 - 34 concentrate on the death of the boy and the reaction of the others, including family. They're survivors, and have life to be getting on with. To many, this ending of Frost's comes over as a bit callous, despite the earlier show of empathy in the poem for the boy to knock off work early, which might have saved his life. Overall there is the feeling that they are responsible for his death; they are the adults who perhaps should have taken over his duties at the saw as the day wore on. Somewhat ironically, it's the sister who distracts him from the job when she offers 'Supper' and the saw, curiously, seems to leap onto the boy's hand, perhaps as a result of the mechanical contraptions and belts attached to it.
Macbeth Hears of Lady Macbeth's Death. From William Shakespeare's play Macbeth Act 5, Scene 5, lines Macbeth: She should have died hereafter; There would have been a time for such a word. Out, out, brief candle! Life's but a walking shadow, a poor player That struts and frets his hour upon the stage And then is heard no more. Analysis of "Out, Out -" "Out, Out -" is a poem about the death of a young boy sawing logs for the stove in readiness for winter on a New Hampshire farm. These juxtaposed elements are what produce the early tension in the poem and similar energies resonate throughout.
Frost also skilfully changes the syntax as the poem moves on, using caesurae pauses through punctuation and metric variation to enhance meaning and drama. The first nine objective lines sketch the scene into which the personal voice of the speaker is heard for the first and last time, the tenth line, which runs on into the eleventh and twelfth through use of enjambment: 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.
In line 27 the final turning point is reached. The hand cannot be saved, stitched back. The syntax is most unusual. Note that one word - So. The reader has to take a relatively deep pause as that little word sums up the gravitas of the situation.