Out, Out by Robert Frost

Out, Out by Robert Frost

It is essential to understand that alliteration is one of the most prevalent poetic devices in the poem Out Out. Regardless of the general absence of a rhyme scheme or a structured form, the prevalence of repeated sounds nonetheless bolsters the lyrical aspect of the poem. At the onset, the notion of alliteration is used firstly to bring the baleful buzz noise saw to life: “The buzz-saw snarled.” Around the same time, a hissing sound occurs, with a menacing quality, implying the possible violence the saw possesses.

Furthermore, in line two, alliteration is even more prevalent, which says, “and made dust and dropped stove-length sticks of wood” (Frost 1). Undoubtedly, there is a presence of something almost methodical to the positioning of the following sounds in this line, which puts forward this repetitive process of using the saw to result in equal wood pieces.

Besides, the following line 3 also uses alliteration, which means that the beginning three lines have all used this device, thus creating an atmosphere that is essentially overflowing with melody in a virtually unpoetic poetic poem. For example, in the line “sweet-scented stuff…” (Frost 1), the presence of sibilance works to relay how the woody smell is sweet as the saw making buzz cuts through the wood. Another crucial usage of alliteration comes into play when the hand of the boy comes forth to make contact with the saw. The breathy /h/ sounds in line 17 show the shock and shortness of breath when the boy finally realizes what has just happened in the line, “He must have given a hand. However it was…” (Frost 1). The same sound is repeated in lines 20 and 21, “…As he swung toward them holding up the hand, Half in appeal, but half as if to keep…” (Frost 1). Finally, it is also crucial to understand the aspect of alliteration that appears in line 32. Notably, this line also uses asyndeton; “Little—less—nothing! and that ended it” (Frost 1). It is vital to note that this line shows the fading heartbeat of this boy being spoken about. Cleverly, the two /l/ sounds take place together to show when the boy’s heart is just about still beating. However, the /l/ sound disappears when the pulse is gone: “nothing!”

Further, it is vital to note that the primary reason why alliteration is used in poetry is that it is pleasing to the ear when it is used in words. It is one of the means to gain the reader’s attention or the listeners (Mar et al., 21). Also, it is a crystal clear way to broadly signify that the alliterative words are linked together to bolster the theme, putting a beacon ray on the subject being spoken about. Still, alliteration is vital when it comes to building mood in poetry. In as much as a wide range of words could be used in describing any subject, particular sound letters have particular connotations, and repetition bolsters that effect.

Still, alliteration is often used in poetry because it is hinted at through the alternate names it has, such as the initial rhyme or the head rhyme. As with perfect rhyme, alliteration gives the verse some notion of melody and rhythm, thus imparting a sense of how it should be read aloud. Given that the aspect of perfect rhyme is largely less popular in contemporary poetry, alliteration, assonance, and consonance are productive tools for poetry.

Nevertheless, it is also imperative to understand that Robert Frost’s Out Out is a one-stanza poem that has thirty-four lines and that it has no single rhyme scheme or even the metrical pattern, even though a number of the lines, distributed all through the text, have made use of the iambic pentameter. Apart from alliteration, the poet has used juxtaposition and even enjambment.

In the first lines, juxtaposition is employed in the case whereby nature and industry are contrasted, together with the dust and “Sweet-scented” smell of wood. The following one suddenly transitions between life and death when this happens. As such, the poet uses juxtaposition in the poem’s very structure. The first couple of sections focus on elements of this scene and that of the accident, during which time the boy is well and alive. After the young lad dies, just as the boy dies suddenly, the poem ends in rapid succession as if the poet did not have anything else to say in the poem. Therefore, life is texturally and virtually prioritized over death to make a broad statement concerning real-life, natural, and historical events.

Moreover, in this work of art, the poet also used the notion of assonance. It has been used to make a work of art riveting for the audiences and bolster the effect of remembering the poem for many days. It is an added feature in literature to facilitate the notion of rhythm. It ensures that the poem is as memorable as it is intriguing. It is also crucial to note that assonance sets the poem’s mood and stimulates the readers’ sensation. In Robert Frost’s poem, Out Out— assonance is seen in the words”…snarled/yard…Sweet-scented/breeze…Five/behind…Under the sunset…ran/had…” (Frost 1) among others.

Also, it is vital to note that allusions are prevalent in this poem. The allusion is present because Frost chose this title. After all, it also explores the notion of death and loss. The title tries to gather ideas in this poem, the meaninglessness of life and guilt. By using potent setting, imagery, symbolism, and allusions, Frost can use devious puns, potent personification, and even a calm tone to mention the imminent tragedy of the child’s death. The largely ominous and vivid title lay to the fore one of the most multiplex and onerous poems for one to easily understand it and make correct interpretations. In a sense, “Out, Out” may be strongly related and compared to the biblical story of Jesus, given that the boy is similar to Jesus and the saw befits Judas, who betrayed his master. In the same way, the saw betrayed the trust that the lad had placed in it, and it ended up cutting off his arm and killing him eventually.

From the discussion above, it is clear that the poet Robert Frost used various literary devices to show his opinions and experiences. His usage of alliteration and allusion has also gone a long way in ensuring that the message he intends his audience to have is reaching the audience with ease.

References

Frost, Robert. “Out, out.” Poetry Foundation. https://www.poetryfoundation.org/poems/53087/out-out (1969).

Mar, Kyu Kyu, and Sandar Win. The Use of Alliteration and Its Effects in Hopkin’s Poems. Diss. MERAL Portal, 2020.

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Out, Out by Robert Frost

Compose a five-paragraph response essay using MLA format to “Out, Out-” by Robert Frost. (1200-1500 words). Focus on how the poet uses one or more literary devices to convey their message to the reader. Do not define terms. Avoid summarizing the poem. Be sure to use MLA-style signal phrases to present direct quotes from the poem to support your points. Provide detailed explanations related to your argument. Fully developed paragraphs are 5-7 sentences (See the TREE Strategy). Use the MLA template from the library homepage/citations/MLA website.