Connotation Of Out, Out-By Robert Frost

In Robert Frost’s blank verse poem “‘Out, Out-,’” the speaker recounts the story of a young boy who loses his hand, and ultimately his life, while working with a buzz-saw, presumably on his family’s farm. The speaker remains an observer throughout the narrative, presenting the poem in the first person. The use of first-person narration establishes an intimacy between the speaker and reader, so that the reader sympathizes with the speaker and not the “they.” “They” remain ambiguous throughout the poem, but “they” might refer to the boy’s family, as the sister is specifically mentioned. The poem presents multiple contrasts: the poem’s setting with its mood, the idea of the boy as a child and a man, and the opinions of the speaker with those of …show more content…
The words “snarled” and “rattled” are onomatopoeic, serving to animate the buzz-saw. The word “snarled” suggests the image of an animal bearing its teeth menacingly while “rattled” suggests a machine. This description is repeated six lines later, emphasizing the seemingly malicious intent of the buzz-saw. The negative connotation of the buzz-saw contrasts the description of the setting. The setting takes place in the pastoral landscape of Vermont, which has a positive and serene connotation through the use of words, such as “sweet” and “breeze.” “Five mountain ranges” surround the scene, however, few people are able to count them. This comment implies that only some people look up and appreciate the pastoral scene surrounding them, as most are working, including the boy who is busy operating the buzz-saw. The setting takes place at “sunset,” which demonstrates the end of the day, while also foreshadowing the end of the boy’s life. The description of the buzz-saw in the first and sixth lines bracket the description of the setting, causing the sinister buzz-saw to overshadow the positive …show more content…
The boy lifts up his hand “Half in appeal” and “half as if to keep/The life from spilling.” This contrast demonstrates the paradoxical idea that he is half a boy, who knows the reality of his situation but cannot take it in, and half a man, who knows and takes responsibility. The metonymy in “life” emphasizes the seriousness of his injury; he is not just bleeding, he is losing his life. The play on words in “Then the boy saw all-” suggests that the boy understands he might die, while also suggesting the actual “saw” or buzz-saw. Although he realizes the extent of his injury, The boy implores his sister: “Don’t let [the doctor] cut my hand off-”. His repetition of this phrase stresses his fear and franticness. Ultimately, his begging is futile, which the one word sentence “So.” accentuates through its finality and brevity. The contrast between the description of him as a man who sees all and as a boy who does not, demonstrates how he is a “child at heart” who is “doing a man’s