Introduction: “The Death of the Hired Man” by Robert Frost
“The Death of the Hired Man” by Robert Frost first appeared in 1915 as part of his second poetry collection, North of Boston. This narrative poem explores complex themes of duty, forgiveness, and the concept of “home” through the story of an aging farm laborer, Silas, who returns to the farm of Warren and Mary, hoping for solace after years of transient work. The poem’s dialogue-driven format and subtle psychological depth bring to life the relationship dynamics between the characters, making it a profound reflection on human relationships, particularly the contrasting perspectives on responsibility and compassion. Its popularity stems not only from Frost’s vivid rural imagery but also from his nuanced portrayal of universal moral questions, appealing to readers who value introspection and philosophical depth in poetry. Frost’s empathetic exploration of community and belonging helped cement this work as a timeless piece in American literature, illustrating his mastery of narrative verse and insight into rural American life.
Text: “The Death of the Hired Man” by Robert Frost
Mary sat musing on the lamp-flame at the table
Waiting for Warren. When she heard his step,
She ran on tip-toe down the darkened passage
To meet him in the doorway with the news
And put him on his guard. ‘Silas is back.’
She pushed him outward with her through the door
And shut it after her. ‘Be kind,’ she said.
She took the market things from Warren’s arms
And set them on the porch, then drew him down
To sit beside her on the wooden steps.
‘When was I ever anything but kind to him?
But I’ll not have the fellow back,’ he said.
‘I told him so last haying, didn’t I?
If he left then, I said, that ended it.
What good is he? Who else will harbor him
At his age for the little he can do?
What help he is there’s no depending on.
Off he goes always when I need him most.
He thinks he ought to earn a little pay,
Enough at least to buy tobacco with,
So he won’t have to beg and be beholden.
“All right,” I say, “I can’t afford to pay
Any fixed wages, though I wish I could.”
“Someone else can.” “Then someone else will have to.”
I shouldn’t mind his bettering himself
If that was what it was. You can be certain,
When he begins like that, there’s someone at him
Trying to coax him off with pocket-money,—
In haying time, when any help is scarce.
In winter he comes back to us. I’m done.’
‘Sh! not so loud: he’ll hear you,’ Mary said.
‘I want him to: he’ll have to soon or late.’
‘He’s worn out. He’s asleep beside the stove.
When I came up from Rowe’s I found him here,
Huddled against the barn-door fast asleep,
A miserable sight, and frightening, too—
You needn’t smile—I didn’t recognize him—
I wasn’t looking for him—and he’s changed.
Wait till you see.’
‘Where did you say he’d been?’
‘He didn’t say. I dragged him to the house,
And gave him tea and tried to make him smoke.
I tried to make him talk about his travels.
Nothing would do: he just kept nodding off.’
‘What did he say? Did he say anything?’
‘But little.’
‘Anything? Mary, confess
He said he’d come to ditch the meadow for me.’
‘Warren!’
‘But did he? I just want to know.’
‘Of course he did. What would you have him say?
Surely you wouldn’t grudge the poor old man
Some humble way to save his self-respect.
He added, if you really care to know,
He meant to clear the upper pasture, too.
That sounds like something you have heard before?
Warren, I wish you could have heard the way
He jumbled everything. I stopped to look
Two or three times—he made me feel so queer—
To see if he was talking in his sleep.
He ran on Harold Wilson—you remember—
The boy you had in haying four years since.
He’s finished school, and teaching in his college.
Silas declares you’ll have to get him back.
He says they two will make a team for work:
Between them they will lay this farm as smooth!
The way he mixed that in with other things.
He thinks young Wilson a likely lad, though daft
On education—you know how they fought
All through July under the blazing sun,
Silas up on the cart to build the load,
Harold along beside to pitch it on.’
‘Yes, I took care to keep well out of earshot.’
‘Well, those days trouble Silas like a dream.
You wouldn’t think they would. How some things linger!
Harold’s young college boy’s assurance piqued him.
After so many years he still keeps finding
Good arguments he sees he might have used.
I sympathize. I know just how it feels
To think of the right thing to say too late.
Harold’s associated in his mind with Latin.
He asked me what I thought of Harold’s saying
He studied Latin like the violin
Because he liked it—that an argument!
He said he couldn’t make the boy believe
He could find water with a hazel prong—
Which showed how much good school had ever done him.
He wanted to go over that. But most of all
He thinks if he could have another chance
To teach him how to build a load of hay—’
‘I know, that’s Silas’ one accomplishment.
He bundles every forkful in its place,
And tags and numbers it for future reference,
So he can find and easily dislodge it
In the unloading. Silas does that well.
He takes it out in bunches like big birds’ nests.
You never see him standing on the hay
He’s trying to lift, straining to lift himself.’
‘He thinks if he could teach him that, he’d be
Some good perhaps to someone in the world.
He hates to see a boy the fool of books.
Poor Silas, so concerned for other folk,
And nothing to look backward to with pride,
And nothing to look forward to with hope,
So now and never any different.’
Part of a moon was falling down the west,
Dragging the whole sky with it to the hills.
Its light poured softly in her lap. She saw it
And spread her apron to it. She put out her hand
Among the harp-like morning-glory strings,
Taut with the dew from garden bed to eaves,
As if she played unheard some tenderness
That wrought on him beside her in the night.
‘Warren,’ she said, ‘he has come home to die:
You needn’t be afraid he’ll leave you this time.’
‘Home,’ he mocked gently.
‘Yes, what else but home?
It all depends on what you mean by home.
Of course he’s nothing to us, any more
Than was the hound that came a stranger to us
Out of the woods, worn out upon the trail.’
‘Home is the place where, when you have to go there,
They have to take you in.’
‘I should have called it
Something you somehow haven’t to deserve.’
Warren leaned out and took a step or two,
Picked up a little stick, and brought it back
And broke it in his hand and tossed it by.
‘Silas has better claim on us you think
Than on his brother? Thirteen little miles
As the road winds would bring him to his door.
Silas has walked that far no doubt today.
Why didn’t he go there? His brother’s rich,
A somebody—director in the bank.’
‘He never told us that.’
‘We know it though.’
‘I think his brother ought to help, of course.
I’ll see to that if there is need. He ought of right
To take him in, and might be willing to—
He may be better than appearances.
But have some pity on Silas. Do you think
If he’d had any pride in claiming kin
Or anything he looked for from his brother,
He’d keep so still about him all this time?’
‘I wonder what’s between them.’
‘I can tell you.
Silas is what he is—we wouldn’t mind him—
But just the kind that kinsfolk can’t abide.
He never did a thing so very bad.
He don’t know why he isn’t quite as good
As anyone. Worthless though he is,
He won’t be made ashamed to please his brother.’
‘I can’t think Si ever hurt anyone.’
‘No, but he hurt my heart the way he lay
And rolled his old head on that sharp-edged chair-back.
He wouldn’t let me put him on the lounge.
You must go in and see what you can do.
I made the bed up for him there tonight.
You’ll be surprised at him—how much he’s broken.
His working days are done; I’m sure of it.’
‘I’d not be in a hurry to say that.’
‘I haven’t been. Go, look, see for yourself.
But, Warren, please remember how it is:
He’s come to help you ditch the meadow.
He has a plan. You mustn’t laugh at him.
He may not speak of it, and then he may.
I’ll sit and see if that small sailing cloud
Will hit or miss the moon.’
It hit the moon.
Then there were three there, making a dim row,
The moon, the little silver cloud, and she.
Warren returned—too soon, it seemed to her,
Slipped to her side, caught up her hand and waited.
‘Warren,’ she questioned.
‘Dead,’ was all he answered.
Annotations: “The Death of the Hired Man” by Robert Frost
| Lines | Annotation |
| “Mary sat musing on the lamp-flame at the table / Waiting for Warren.” | The scene begins with a calm, reflective tone. Mary’s quiet waiting emphasizes her contemplative nature and her role as a stabilizing force in her relationship with Warren. |
| “When she heard his step, / She ran on tip-toe down the darkened passage” | Mary’s eagerness to meet Warren reflects her concern and anticipation. Her gentle approach shows her intention to protect and prepare Warren for unexpected news. |
| “Silas is back.” | This brief line carries significant weight. Silas’s return introduces the main conflict, as he is a transient worker who has left them before. His return foreshadows a sense of finality or need. |
| “Be kind,” she said. | Mary’s plea underscores her empathy and compassion. She asks Warren to show understanding, indicating her belief that Silas is in a vulnerable state. |
| “‘When was I ever anything but kind to him?'” Warren said. | Warren’s defensive response reveals his frustration with Silas. While he considers himself fair, he is resistant to having Silas back, suggesting a deeper conflict between pride and compassion. |
| “What good is he? Who else will harbor him / At his age for the little he can do?” | Warren questions Silas’s usefulness, expressing practical concerns about Silas’s declining productivity. This illustrates the tension between economic value and human dignity. |
| “Off he goes always when I need him most.” | Warren resents Silas’s tendency to leave during critical times, highlighting the lack of reliability he feels in Silas. This hints at Warren’s sense of betrayal. |
| “I can’t afford to pay / Any fixed wages, though I wish I could.” | Warren’s financial concerns are evident here, adding complexity to his resistance. He feels unable to support Silas while balancing his own needs, complicating his sense of responsibility. |
| “‘Sh! not so loud: he’ll hear you,’ Mary said.” | Mary’s concern for Silas’s dignity contrasts with Warren’s bluntness. Her whispered caution shows her respect for Silas’s feelings, reflecting her gentle nature. |
| “‘He’s worn out. He’s asleep beside the stove.” | Mary describes Silas’s physical exhaustion, suggesting his declining health and vulnerability. This sets up the poem’s theme of mortality and human fragility. |
| “A miserable sight, and frightening, too—” | Silas’s appearance shocks Mary, who sees him in a weakened state. This evokes sympathy and indicates that his return may be motivated by desperation. |
| “‘He thinks he ought to earn a little pay…so he won’t have to beg and be beholden.'” | Silas’s pride and desire for self-sufficiency are revealed here. He returns not out of entitlement, but from a wish to retain some dignity, even in a diminished state. |
| “‘He said he’d come to ditch the meadow for me.'” | Silas’s offer to work indicates his wish to contribute and find purpose. It’s a small, humble gesture to prove his worth, showing his desire to justify his presence. |
| “Surely you wouldn’t grudge the poor old man / Some humble way to save his self-respect.” | Mary appeals to Warren’s sense of compassion, advocating for Silas’s need to maintain dignity. This reinforces the theme of kindness versus practicality. |
| “‘He ran on Harold Wilson—you remember—The boy you had in haying four years since.'” | Silas recalls Harold, suggesting he’s still dwelling on past interactions. This shows his longing for a connection and his concern for Harold’s future, which gives Silas a sense of purpose. |
| “The way he mixed that in with other things.” | Mary notices Silas’s disjointed thoughts, hinting at his mental deterioration. This moment emphasizes his vulnerability and the waning coherence of his life’s narrative. |
| “‘He thinks young Wilson a likely lad, though daft / On education.'” | Silas views practical knowledge as more valuable than formal education, revealing his rural, hands-on worldview. His opinions on education versus life skills echo a generational and cultural divide. |
| “Harold’s young college boy’s assurance piqued him.” | Silas feels challenged by Harold’s confidence, which symbolizes his own insecurities about his limited education. This detail adds depth to Silas’s character and his lingering regrets. |
| “Poor Silas, so concerned for other folk, / And nothing to look backward to with pride.” | Mary’s description reveals her empathy. She sees Silas as someone who has given without expecting much in return, but now faces the end of his life without any sense of accomplishment. |
| “‘Home,’ he mocked gently.” | Warren’s skepticism about “home” conveys his pragmatic view. He doesn’t see his farm as Silas’s rightful home, questioning the notion of belonging based on mere necessity. |
| “Home is the place where, when you have to go there, / They have to take you in.” | This famous line reflects Warren’s practical, perhaps resigned view of home, suggesting it’s a place of obligation rather than genuine belonging or love. |
| “‘I should have called it / Something you somehow haven’t to deserve.'” | Mary’s response provides a contrasting, more idealistic view of home, as a place of unconditional acceptance and care, highlighting her compassionate nature. |
| “Why didn’t he go there? His brother’s rich, / A somebody—director in the bank.” | Warren questions why Silas didn’t go to his more affluent brother, suggesting familial duty lies elsewhere. This line reflects societal expectations about family responsibility and class dynamics. |
| “Silas has better claim on us you think / Than on his brother?” | Warren questions the ethics of caring for Silas versus his brother’s responsibility. This adds moral tension, exploring the bounds of family obligation. |
| “‘No, but he hurt my heart the way he lay / And rolled his old head on that sharp-edged chair-back.'” | Mary’s observation underscores her empathy and pain witnessing Silas’s decline. She is moved not by duty but by genuine compassion, contrasting Warren’s views. |
| “‘He has a plan. You mustn’t laugh at him.'” | Mary urges Warren to respect Silas’s dignity, asking him not to mock Silas’s simple plans. Her words reflect her protective, nurturing nature toward those in need. |
| “‘Dead,’ was all he answered.” | The final line reveals Silas’s death, marking the somber culmination of the poem. This abrupt revelation emphasizes the inevitability of mortality and the tragedy of unfulfilled lives. |
Literary And Poetic Devices: “The Death of the Hired Man” by Robert Frost
| Literary Device | Example | Explanation |
| Allusion | “Latin” and “violin” | Silas refers to Latin as something he doesn’t value, contrasting it with practical knowledge. This alludes to the perceived divide between practical work and academic learning, central to his character’s perspective. |
| Ambiguity | “Home” | The concept of “home” is left ambiguous and open to interpretation. Mary and Warren’s differing definitions highlight the complexity of belonging and acceptance. |
| Assonance | “he has come home to die” | The repetition of the “o” sound in “home” and “to” creates a solemn tone, emphasizing the finality of Silas’s return. |
| Connotation | “poor old man” | “Poor” conveys sympathy rather than material poverty. Mary uses it to express her pity for Silas’s condition, revealing her emotional connection to him. |
| Contrast | Warren vs. Mary’s perspectives | Warren views Silas through a practical lens, while Mary feels compassion for him. This contrast illustrates their differing attitudes on responsibility and compassion. |
| Dialogue | “Be kind,” she said. / “When was I ever anything but kind to him?” | The poem uses dialogue to reveal character dynamics and deepen the narrative. Mary and Warren’s exchanges bring their personalities and moral viewpoints into focus. |
| Diction | “huddled against the barn-door fast asleep” | Frost’s choice of words like “huddled” and “miserable” conveys Silas’s vulnerability and isolation, enhancing the reader’s empathy. |
| Foreshadowing | “He has come home to die” | Mary’s statement hints at Silas’s impending death, foreshadowing the poem’s conclusion and creating a sense of inevitability. |
| Hyperbole | “Dragging the whole sky with it to the hills” | This exaggeration emphasizes the dramatic and somber atmosphere of the setting, suggesting the weight and gravity of the moment. |
| Imagery | “A miserable sight…huddled against the barn-door” | Frost creates vivid imagery of Silas’s appearance, invoking a sense of pity and visualizing his weakened state for the reader. |
| Irony | “Home is the place where, when you have to go there, they have to take you in.” | Warren’s ironic definition of “home” reflects his skepticism and practicality, while Mary counters with a more compassionate view. |
| Juxtaposition | Silas’s pride vs. his helplessness | Frost places Silas’s desire for self-sufficiency against his deteriorating health, highlighting the tragic contrast between his aspirations and reality. |
| Metaphor | “He has come home to die” | Mary’s statement uses “home” metaphorically to suggest a place of final refuge and acceptance, even as Warren questions its validity. |
| Personification | “Part of a moon was falling down the west” | The moon is personified as “falling,” adding a dramatic, almost supernatural feel to the night, mirroring Silas’s decline. |
| Repetition | “Poor Silas” | Mary repeats this phrase, emphasizing her sympathy for Silas’s plight and reinforcing her compassionate perspective. |
| Rhetorical Question | “What good is he?” | Warren’s rhetorical question reflects his frustration and challenges Mary’s view, highlighting his practical concern over Silas’s usefulness. |
| Simile | “He takes it out in bunches like big birds’ nests.” | This simile compares the bundles of hay to birds’ nests, illustrating Silas’s skill in hay stacking and his dedication to his work, despite his limitations. |
| Symbolism | “Home” | The idea of “home” symbolizes belonging, security, and compassion. For Silas, it represents his last hope for acceptance; for Warren, it challenges his sense of obligation. |
| Theme | Responsibility vs. compassion | The poem’s central theme explores the tension between duty (Warren’s view) and compassion (Mary’s view) in how people treat those who are vulnerable, raising moral questions about kindness and obligation. |
Themes: “The Death of the Hired Man” by Robert Frost
- Compassion vs. Practicality
The poem explores the tension between compassion and practicality, embodied in the differing attitudes of Mary and Warren toward Silas. Mary approaches Silas with empathy, urging Warren to “be kind” and see past Silas’s flaws, understanding that he is vulnerable and nearing the end of his life. She views Silas as a man in need of dignity and basic compassion, even if he has disappointed them in the past. Warren, on the other hand, struggles with balancing kindness with practicality, voicing his frustrations about Silas’s lack of reliability: “Off he goes always when I need him most.” Warren’s concerns are rooted in a realistic view of resources and obligations, creating a moral dilemma between duty to community and personal responsibility. - The Meaning of Home
The idea of “home” is central to the poem, where it represents both physical and emotional refuge. For Mary, home is a place of unconditional acceptance, something she expresses as “something you somehow haven’t to deserve.” Warren, however, offers a more conditional view, stating, “Home is the place where, when you have to go there, they have to take you in.” These contrasting perspectives reveal deeper questions about what defines a true home: is it merely a place of last resort, or a source of belonging and care? Silas’s return symbolizes his search for a place to spend his final days with a semblance of dignity, making “home” a powerful symbol of human connection and solace. - The Isolation and Dignity of the Individual
Silas’s plight in the poem underscores themes of isolation and the dignity of the individual. He arrives at Warren and Mary’s home in a weakened state, “huddled against the barn-door fast asleep,” a description that highlights his vulnerability and solitude. Despite his pride and desire to be self-sufficient, Silas has nowhere else to turn, yet he clings to the idea of offering his labor as a way to maintain his dignity. His intent to “ditch the meadow” and “clear the upper pasture” shows his determination to contribute, even if his efforts are small. This theme resonates with the struggle for dignity that many face in the face of age, poverty, and decline, emphasizing the human need for respect and purpose, even when all other aspects have diminished. - Memory and Regret
Frost weaves the theme of memory and regret through Silas’s reflections on his past, particularly his relationship with Harold Wilson, the young farmhand. Silas recalls their quarrels over education, which he sees as impractical, and laments his missed opportunity to teach Harold “how to build a load of hay.” Silas’s lingering memories of their interactions reveal his regrets about how he might have influenced the boy. He is haunted by Harold’s “college boy’s assurance” and his inability to pass on his practical knowledge, which he feels has genuine value. This sense of regret underscores the poem’s larger exploration of missed connections, highlighting how memories of unresolved conflicts and unrealized aspirations linger into old age.
Literary Theories and “The Death of the Hired Man” by Robert Frost
| Literary Theory | Application to The Death of the Hired Man | References from the Poem |
| New Criticism | New Criticism focuses on analyzing the text itself, viewing the poem as an autonomous entity without outside context. This approach emphasizes Frost’s use of language, structure, and symbolism to convey meaning. | The poem’s structure, using dialogue between Warren and Mary, highlights contrasting views on “home” and “compassion.” For example, Mary’s line, “Something you somehow haven’t to deserve,” reflects her understanding of home as a place of acceptance. |
| Psychoanalytic Theory | This theory examines the unconscious motives of characters, focusing on their inner conflicts and desires. Silas’s return and need for acceptance can be seen as a manifestation of his subconscious desire for belonging and self-worth. | Silas’s regret about not teaching Harold “how to build a load of hay” reflects his suppressed desire to leave a legacy or make a lasting impact, driven by his insecurities and feelings of inadequacy: “He thinks if he could have another chance…” |
| Marxist Criticism | Marxist Criticism analyzes class struggles and economic factors influencing characters’ lives and interactions. Silas’s status as a hired hand, Warren’s economic concerns, and the tension over “fixed wages” illustrate the class dynamics at play. | Warren’s frustration is rooted in the economic realities of running a farm, as shown in his line, “I can’t afford to pay / Any fixed wages, though I wish I could.” Silas’s dependency on finding seasonal work reflects his lower social and economic status. |
Critical Questions about “The Death of the Hired Man” by Robert Frost
- What does the poem reveal about the concept of “home,” and how do the characters’ definitions differ?
- In “The Death of the Hired Man,” Frost presents “home” as a concept open to interpretation, and the poem’s central conflict arises from differing definitions between Mary and Warren. For Mary, home is a place of unconditional acceptance, reflected in her assertion, “Something you somehow haven’t to deserve.” She believes that regardless of Silas’s past unreliability, he deserves a place to rest and feel safe in his final days. Conversely, Warren sees home as a place of mutual obligation, stating, “Home is the place where, when you have to go there, they have to take you in.” This conditional view implies that belonging is something to be earned, not simply given. The poem, through this contrast, invites readers to consider whether home is defined by compassion or duty, ultimately leaving the question unanswered as both perspectives coexist without resolution.
- How does Frost use the character of Silas to explore themes of dignity and self-worth?
- Silas’s character in the poem embodies the struggle for dignity and self-worth in the face of aging and dependence. Although he is physically weakened and socially isolated, Silas clings to a sense of pride, wanting to prove his usefulness to Warren and Mary. He returns with the intention to “ditch the meadow” and “clear the upper pasture,” humble tasks that reflect his desire to contribute rather than simply be pitied. Additionally, Silas’s lingering regret over not teaching Harold Wilson, a young farmhand, how to stack hay illustrates his need to leave behind a legacy, however small. Through Silas, Frost captures the universal need for a sense of purpose and dignity, especially as one faces the vulnerabilities of old age.
- How does the dialogue-driven structure of the poem enhance our understanding of the characters and themes?
- The dialogue-driven structure of “The Death of the Hired Man” allows readers to experience the intimate exchange between Warren and Mary directly, without a narrator’s mediation. This structure gives depth to their relationship, revealing each character’s distinct personality and moral outlook. For example, Mary’s quiet but persistent pleas for compassion, seen in her instruction to “be kind,” showcase her empathy and contrast with Warren’s practical concerns about Silas’s reliability and his past behavior. This conversational format also emphasizes the themes of forgiveness, responsibility, and human connection by allowing the reader to hear each character’s reasoning in their own voice. The lack of narrative intervention leaves the poem’s moral questions open-ended, inviting readers to engage directly with Warren and Mary’s conflicting values.
- What role does memory play in the poem, particularly in Silas’s reflections on Harold Wilson?
- Memory in “The Death of the Hired Man” serves as a bridge between Silas’s past and his present regrets, highlighting his internal conflicts and missed opportunities. Silas recalls his work with Harold Wilson, the young college student who helped on the farm, as a point of pride and an unfinished chapter in his life. He remembers the arguments they had about education, saying Harold’s “college boy’s assurance piqued him.” This memory reveals Silas’s discomfort with formal education and his belief in practical skills, underscoring his insecurity about his lack of formal knowledge. Silas’s wish to “teach [Harold] how to build a load of hay” reflects his yearning to pass on his skills and be valued for his work, a longing that remains unfulfilled as his life nears its end. Frost uses these memories to underscore Silas’s sense of inadequacy and his desire to leave a mark, however small, on someone else’s life.
Literary Works Similar to “The Death of the Hired Man” by Robert Frost
- “Those Winter Sundays” by Robert Hayden
This poem, like Frost’s, explores themes of duty, sacrifice, and unspoken family bonds through the lens of a working-class life. - “The Wood-Pile” by Robert Frost
Another of Frost’s poems, it reflects on themes of abandonment, human impermanence, and the passing of time, using rural imagery to convey a sense of loneliness and introspection. - “Mending Wall” by Robert Frost
Through a conversation between neighbors repairing a wall, this poem similarly examines themes of connection, boundaries, and differing perspectives in rural life. - “Miniver Cheevy” by Edwin Arlington Robinson
This poem shares themes of regret, isolation, and the struggle for self-worth, as it presents a character who feels unfulfilled by modern life and longs for a different era. - “The Man He Killed” by Thomas Hardy
Hardy’s poem, like Frost’s, delves into complex feelings of empathy and moral conflict, as it reflects on a man grappling with the human cost of societal expectations and survival.
Representative Quotations of “The Death of the Hired Man” by Robert Frost
| Quotation | Context | Theoretical Perspective |
| “Mary sat musing on the lamp-flame at the table / Waiting for Warren.” | The opening lines introduce Mary as a reflective and patient character, setting a quiet, contemplative tone. | New Criticism: Highlights the peaceful domestic setting, grounding the reader in the mood of the narrative. |
| “Silas is back.” | Mary informs Warren of Silas’s return, signaling the start of the poem’s central conflict. | Structuralism: Marks a narrative shift, introducing Silas as the catalyst for the exploration of complex themes. |
| “Be kind,” she said. | Mary urges Warren to show compassion toward Silas, despite his past unreliability. | Feminist Theory: Mary represents empathy and emotional labor, often assigned to women, in contrast to Warren’s pragmatism. |
| “Home is the place where, when you have to go there, / They have to take you in.” | Warren defines “home” as a place of reluctant obligation rather than unconditional acceptance. | Marxist Criticism: Reflects the conditional nature of social support, hinting at economic and social pressures. |
| “I should have called it / Something you somehow haven’t to deserve.” | Mary offers her own definition of home, contrasting with Warren’s, as a place of unconditional belonging. | Humanistic Theory: Suggests a view of home as a space for inherent acceptance and human connection. |
| “He has come home to die.” | Mary acknowledges Silas’s frail state and believes he returned to find solace in his final days. | Psychoanalytic Theory: Silas’s return reflects an unconscious desire for acceptance and a peaceful end. |
| “What good is he? Who else will harbor him / At his age for the little he can do?” | Warren questions Silas’s value, expressing his frustration with Silas’s unreliability. | Marxist Criticism: Emphasizes the economic lens through which Warren views relationships and productivity. |
| “He hates to see a boy the fool of books.” | Silas’s disdain for Harold’s education reflects his preference for practical over theoretical knowledge. | Cultural Criticism: Highlights rural working-class values, contrasting with the educated, urban middle class. |
| “Poor Silas, so concerned for other folk, / And nothing to look backward to with pride.” | Mary empathizes with Silas’s regrets, recognizing his lack of accomplishments and missed connections. | Existentialism: Silas’s plight reflects the existential struggle for meaning and significance in a fleeting life. |
| “Dead,” was all he answered. | The final line confirms Silas’s death, ending the poem on a somber, conclusive note. | New Criticism: The abrupt finality captures the theme of mortality, emphasizing life’s impermanence. |
Suggested Readings: “The Death of the Hired Man” by Robert Frost
- Jost, Walter. “Lessons in the Conversation That We Are: Robert Frost’s ‘Death of the Hired Man.'” College English, vol. 58, no. 4, 1996, pp. 397–422. JSTOR, https://doi.org/10.2307/378852. Accessed 3 Nov. 2024.
- Liebman, Sheldon W. “Robert Frost, Romantic.” Twentieth Century Literature, vol. 42, no. 4, 1996, pp. 417–37. JSTOR, https://doi.org/10.2307/441875. Accessed 3 Nov. 2024.
- Hopkins, Bess Cooper. “A Study of ‘The Death of the Hired Man.'” The English Journal, vol. 43, no. 4, 1954, pp. 175–86. JSTOR, https://doi.org/10.2307/809014. Accessed 3 Nov. 2024.
- Monteiro, George. “Frost’s Hired Hand.” College Literature, vol. 14, no. 2, 1987, pp. 128–35. JSTOR, http://www.jstor.org/stable/25111732. Accessed 3 Nov. 2024.
- Marcus, Mordecai. “Motivation of Robert Frost’s Hired Man.” College Literature, vol. 3, no. 1, 1976, pp. 63–68. JSTOR, http://www.jstor.org/stable/25111111. Accessed 3 Nov. 2024.