“Out, Out—” by Robert Frost: A Critical Analysis

Introduction: “Out, Out—” by Robert Frost

“Out, Out—” by Robert Frost was first published in 1916 in the magazine McClure’s, and later that same year in his collection Mountain Interval. The poem’s stark realism and unflinching portrayal of a tragic accident, as well as its poignant exploration of the fragility of life and the indifference of nature, are among its notable qualities. The use of vivid imagery and the echoing of Shakespeare’s “Macbeth” in the title contribute to the poem’s lasting impact.

Text: “Out, Out—” by Robert Frost

Annotations: “Out, Out—” by Robert Frost

Line	Annotation
1	The buzz saw snarls and rattles in the yard, evoking a sense of danger and mechanical aggression.
2	It produces dust and drops sticks of wood of stove-length, creating a sensory image of its work.
3	The scent of the freshly cut wood is described as sweet when carried by the breeze.
4	Those who lift their eyes can see five mountain ranges, creating a picturesque view into Vermont.
5	The mention of Vermont adds geographical context and enhances the sense of setting.
6	The repetition of “snarled and rattled” emphasizes the continuous and noisy operation of the saw.
7	The saw’s activity is described in relation to its effort, suggesting its capability and strain.
8	The day is nearly over, and the atmosphere is mundane, setting the stage for the ensuing events.
9	The speaker wishes someone had called an end to work, showing concern for the boy’s well-being.
10	The boy values the respite from work, highlighting his desire for leisure amidst labor.
11	The boy’s sister fulfills a domestic role, calling the family in for supper, signaling the end of the workday.
12	The saw seems to respond to the mention of supper by causing an accident involving the boy.
13	The saw appears to lurch towards the boy’s hand, resulting in an injury.
14	The cause of the accident is unclear, but the boy’s hand is wounded, suggesting the danger of work.
15	The boy’s initial reaction to the injury is a rueful laugh, indicating a mix of shock and disbelief.
16	The boy holds up his injured hand, seeking help and trying to contain the damage.
17	The boy comprehends the gravity of his injury and its implications for his future.
18	The boy pleads with his sister to prevent the doctor from amputating his hand.
19	Despite the plea, the injury has already occurred, and the hand is lost.
20	The doctor administers ether to render the boy unconscious for treatment.
21	The boy’s breathing becomes labored under the effects of ether.
22	The watcher monitoring the boy’s pulse becomes alarmed as his heartbeat weakens.
23	Despite efforts to revive him, the boy dies, leaving nothing more to be done.
24	The bystanders, realizing their helplessness, turn away to attend to their own affairs.

Literary And Poetic Devices: “Out, Out—” by Robert Frost

Literary Devices

1. Allusion: The title “Out, Out—” is an allusion to a line in Shakespeare’s Macbeth, where Macbeth laments the brevity of life after his wife’s death. This adds another layer of meaning to the poem’s theme of life’s fragility.
2. Foreshadowing: The repeated phrase “snarled and rattled” creates a sense of unease and foreshadows the impending accident with the saw.
3. Hyperbole: The line “Five mountain ranges one behind the other” is a slight exaggeration of the view, emphasizing the vastness of the setting and contrasting it with the smallness and vulnerability of human life.
4. Irony: The boy’s initial reaction, a “rueful laugh,” is ironic as it contrasts with the severity of his injury.
5. Juxtaposition: The poem juxtaposes the beauty of the natural setting with the harshness of the industrial saw and the tragic accident, highlighting the indifference of nature to human suffering.
6. Metaphor: The line “The life from spilling” is a metaphor for the boy’s blood and the loss of his life.
7. Personification: The saw is personified as it “leaped out” at the boy, suggesting a malevolent force.
8. Symbolism: The setting sun symbolizes the end of the day and foreshadows the boy’s death.

Sound Devices

• Alliteration: The repetition of the ‘s’ sound in “snarled and rattled” creates a harsh, grating effect that mirrors the sound of the saw.
• Assonance: The repetition of vowel sounds, like the short ‘i’ sound in “sister,” “lifted,” and “sticks,” creates a sense of unity within the poem.
• Consonance: The repetition of consonant sounds, like the ‘d’ sound in “made dust and dropped,” adds to the poem’s sonic texture.
• Onomatopoeia: Words like “snarled” and “rattled” imitate the sound of the saw, making the poem more vivid.

Poetic Devices

1. Blank Verse: The poem is written in unrhymed iambic pentameter, which gives it a natural, conversational rhythm.
2. Caesura: The pauses in the middle of lines, often marked by punctuation, create a sense of hesitation and emphasize certain words or phrases.
3. Enjambment: The running on of lines without punctuation creates a sense of urgency and momentum.
4. Imagery: The poem uses vivid sensory details to describe the setting, the saw, and the boy’s injury, making the poem more impactful.
5. Repetition: The repetition of phrases like “snarled and rattled” and “little—less—nothing!” emphasizes the monotony of the saw’s work and the finality of death.
6. Rhythm: The poem’s rhythm, created by the meter and the use of sound devices, contributes to its overall tone and emotional impact.
7. Tone: The poem’s tone is somber and reflective, as the speaker contemplates the tragedy of the boy’s death.
8. Understatement: The final line, “And they, since they / Were not the one dead, turned to their affairs,” is an understatement that highlights the indifference of the other characters to the boy’s death and the harsh realities of life.

Themes: “Out, Out—” by Robert Frost

• Theme 1: The Tragic Nature of Life
  The poem highlights the sudden and unexpected nature of tragedy, as seen in the boy’s accidental death. The line “And nothing happened: day was all but done” (Frost 9) underscores the ordinary and mundane nature of the day, making the tragedy all the more shocking. The poem shows how quickly life can change, and how fragile it is.
• Theme 2: The Powerlessness of Human Control
  The poem explores the idea that humans are not in control of their lives, despite their efforts to be. The buzz saw, which is meant to be a tool for the boy, ultimately becomes the instrument of his death. The line “The hand was gone already” (Frost 31) emphasizes the finality and irreversibility of the tragedy, highlighting the powerlessness of human control.
• Theme 3: The Contrast Between Childhood and Adulthood
  The poem highlights the contrast between the boy’s youth and his adult responsibilities, as seen in the line “Doing a man’s work, though a child at heart—” (Frost 23). The boy is expected to perform adult tasks, but he is still a child, emphasizing the harsh realities of growing up too quickly.
• Theme 4: The Indifference of Nature
  The poem shows how nature is indifferent to human life and death. The mountain ranges and sunset in the background of the poem continue unchanged, despite the tragedy that has occurred. The line “And they, since they / Were not the one dead, turned to their affairs” (Frost 37-38) highlights how life goes on, regardless of individual tragedies.

Literary Theories and “Out, Out—” by Robert Frost

1. New Criticism:

• Focus: Close reading of the text itself, analyzing its formal elements (literary and sound devices) to uncover meaning.
• Reference: The poem’s title, an allusion to Macbeth, highlights the theme of life’s fleeting nature. The stark imagery of the saw (“snarled and rattled”) and the boy’s injury (“The hand was gone already”) create a sense of shock and inevitability.
• Interpretation: New Criticism would argue that the poem’s meaning lies in the tension between the beautiful natural setting and the harsh reality of the accident, as well as the stark language and imagery that evoke a sense of tragedy and loss.

2. Psychoanalytic Criticism:

• Focus: Explores the unconscious desires and motivations of characters, often through symbolism and metaphor.
• Reference: The boy’s desire to prove himself as a “big boy” doing a “man’s work” could be interpreted as an Oedipal struggle for recognition and autonomy. The saw, a phallic symbol, could represent a threat of castration and loss of masculinity.
• Interpretation: Psychoanalytic criticism might see the poem as an exploration of childhood anxieties and the fear of emasculation, with the tragic accident serving as a symbolic punishment for the boy’s ambition.

3. Marxist Criticism:

• Focus: Examines how social and economic forces shape characters’ lives and relationships.
• Reference: The poem highlights the boy’s exploitation as child labor and the family’s poverty, as they are forced to work long hours to survive. The abrupt ending, where the family “turned to their affairs” after the boy’s death, suggests the dehumanizing effects of capitalism, where workers are easily replaceable.
• Interpretation: Marxist criticism would argue that the poem is a critique of social injustice and the exploitation of the working class, with the boy’s death serving as a symbol of the human cost of economic inequality.

Critical Questions about “Out, Out—” by Robert Frost

• How does Frost’s use of sound devices contribute to the poem’s overall tone and meaning?
• The poem is filled with harsh, onomatopoeic words like “snarled,” “rattled,” and “leapt” that mimic the sounds of the saw, creating a sense of unease and foreshadowing the tragic accident. This auditory imagery, coupled with the rhythmic repetition of phrases like “snarled and rattled,” amplifies the poem’s grim and somber tone, emphasizing the destructive power of the machine and the abrupt end of the boy’s life.
• In what ways does the poem explore the theme of life’s fragility and the indifference of nature?
• The poem juxtaposes the beauty of the natural world (“Five mountain ranges one behind the other”) with the harsh reality of human suffering. The saw’s relentless “snarling and rattling” and the abruptness of the boy’s death highlight the indifference of nature to human life and the precariousness of our existence. The poem suggests that life can be cut short unexpectedly, just like the “stove-length sticks of wood” severed by the saw.
• How does the poem critique the exploitation of child labor and the dehumanizing effects of industrialization?
• The boy’s eagerness to “please” by working late and his sister’s announcement of “Supper” underscore the family’s dependence on his labor. The fact that the boy is doing a “man’s work” at a young age emphasizes the exploitative nature of child labor. The impersonal, mechanical description of the saw and the matter-of-fact tone of the ending (“And they, since they / Were not the one dead, turned to their affairs”) highlight the dehumanizing effects of industrialization, where human lives are seen as expendable.
• What is the significance of the poem’s title, “Out, Out—,” and how does it relate to the poem’s themes?
• The title alludes to a line in Shakespeare’s Macbeth, “Out, out, brief candle!” This reference underscores the poem’s exploration of life’s fleeting nature and the inevitability of death. The dash at the end of the title adds a sense of abruptness and finality, mirroring the suddenness of the boy’s death. The title also evokes a sense of expulsion or removal, suggesting that the boy’s life is extinguished as quickly as a candle is snuffed out.

Topics, Questions, and Thesis Statement about “Out, Out—” by Robert Frost

Topic	Questions	Thesis Statement
Themes and Symbolism	What are the key themes explored in “Out, Out—” by Robert Frost?	“Out, Out—” by Robert Frost explores themes of mortality, the fragility of life, and the indifference of nature through vivid symbolism and imagery, impacting the reader deeply.
Narrative and Structure	How does the narrative structure contribute to the poem’s impact?	The narrative structure of “Out, Out—” by Robert Frost, with its abrupt ending and reflective tone, serves to emphasize the suddenness and tragedy of the young boy’s death.
Language and Imagery	What role does language and imagery play in conveying the poem’s mood?	Robert Frost’s masterful use of language and imagery in “Out, Out—” creates a haunting atmosphere, evoking a sense of foreboding and inevitability, leaving a lasting impression on the reader.
Social Commentary	How does the poem reflect societal attitudes towards labor and childhood?	“Out, Out—” by Robert Frost subtly critiques societal attitudes towards child labor and the disregard for the value of young lives in the pursuit of work, urging reflection on the human cost of industrialization.

Literary Works Similar to “Out, Out—” by Robert Frost

1. “Richard Cory” by Edwin Arlington Robinson: This poem explores the theme of the contrast between outward appearances and inner reality, much like how “Out, Out—” juxtaposes the innocence of childhood with the suddenness of death.
2. “The Death of the Ball Turret Gunner” by Randall Jarrell: Like “Out, Out—,” this poem deals with the theme of mortality and the abruptness of death. It portrays the dehumanizing effects of war and the fragility of life.
3. “To an Athlete Dying Young” by A.E. Housman: This poem reflects on the fleeting nature of fame and glory, similar to how “Out, Out—” highlights the transient nature of life and the inevitability of death.
4. “The Road Not Taken” by Robert Frost: While not directly similar in theme, this poem by Frost also explores the idea of choices and consequences. It reflects on the paths we choose in life and the significance of those choices, much like how “Out, Out—” considers the consequences of the boy’s actions.
5. “The Black Cottage” by Robert Frost: This poem, also by Frost, shares thematic elements with “Out, Out—,” particularly in its exploration of rural life and the harsh realities of existence. It delves into themes of loss, isolation, and the relentless march of time.

Suggested Readings: “Out, Out—” by Robert Frost

Books:

• Bloom, Harold, ed. Robert Frost. Bloom’s Modern Critical Views. New York: Chelsea House Publishers, 2003.
• Faggen, Robert. The Cambridge Introduction to Robert Frost. Cambridge: Cambridge University Press, 2008.
• Pritchard, William H. Frost: A Literary Life Reconsidered. New York: Oxford University Press, 1984.

Articles:

• Allen, Pauline Elaine. “Robert Frost: A Twentieth Century Poet of Man and Nature.” (1978).
• Hopkins, Vivian C. “Robert Frost: Out Far and In Deep.” Western Humanities Review 14 (1960): 247-263.

Web Links:

• Modern American Poetry: “Out, Out—” by Robert Frost: [invalid URL removed]
• Poetry Foundation: “Out, Out—” by Robert Frost: [invalid URL removed]
• Academy of American Poets: Robert Frost: https://poets.org/poet/robert-frost

Representative Quotations from “Out, Out—” by Robert Frost

Quotation	Context	Theoretical Concept/Perspective
“The buzz saw snarled and rattled, as it ran light / Through his hand, as if to prove saws knew what supper meant”	The boy is working with the buzz saw, which suddenly cuts off his hand.	Marxist Perspective: The machine (buzz saw) is depicted as having a mind of its own, highlighting the dangers of industrialization and the exploitation of workers.
“And nothing happened: day was all but done”	The accident occurs at the end of the workday, emphasizing the sudden and unexpected nature of tragedy.	Existentialist Perspective: The line underscores the idea that life is fleeting and can change in an instant, highlighting the absurdity and uncertainty of human existence.
“Doing a man’s work, though a child at heart—”	The boy is performing adult tasks, despite his youth.	Psychoanalytic Perspective: The line highlights the tension between the boy’s adult responsibilities and his childish innocence, underscoring the psychological complexities of growing up.
“The hand was gone already”	The boy’s hand is cut off, and he is unable to save it.	Symbolic Perspective: The hand represents the boy’s innocence and childhood, which are lost in the accident.
“Don’t let him cut my hand off— / The doctor, when he comes. Don’t let him, sister!”	The boy is in shock and tries to prevent further harm.	Foucauldian Perspective: The line highlights the power dynamics between the boy, the doctor, and the sister, underscoring the ways in which individuals are subject to the control of others.
“Little—less—nothing!—and that ended it”	The boy’s life is described as fleeting and easily extinguished.	Elegiac Perspective: The line is a lamentation of the boy’s short life, highlighting the transience and fragility of human existence.
“And they, since they / Were not the one dead, turned to their affairs”	The family members return to their daily tasks after the boy’s death.	Structuralist Perspective: The line highlights the ways in which societal structures and norms (e.g., the need to work) continue unchanged, despite individual tragedies.