A_Frosty_Narrative

Assignment3: A Frosty Narrative Joseph Shooltz South University Online A Frosty Narrative Robert Frost’s narrative poem, “Out, Out---“(Frost, 2011), is a telling of unpredictability and tragedy. It is the story of a boy, not yet a man, anticipating the rest of his day after a hard day’s toil, becoming subject of a vicious undoing at the bite of that same toil. The unfathomable tragedy gives illumination to the power of description. This portrayal of misfortune is summed up with the components that provide the framework to analyze a literary work. This framework consists, first, with the setting. “Under the sunset far into Vermont” (Frost, 2011, line 6) conveys that the story takes place somewhere in New England, at the end of the day. The “saw in the yard” (Frost, 2011, line 1) describes a common practice by “kin folk” in the backyard lumber businesses in American history. The phrase “his sister…in her apron” (Frost, 2011, line 13), also, tells of a business at home where access is available to the family. A couple more elements, plot and structure, depends on each other to format the progression to the literary piece. The plot suggests they’re at the conclusion to an always tiring day, looking forward to the end, maybe too much; ”wish they might please the boy, giving him half hour saved from work” (Frost, 2011, lines 10-12). Then, tragedy strikes with an uncompromising result, which regresses, even further, with the ultimate price being paid. The structure has almost a back woodsy feel to it and a consistent, overwhelming need to reevaluate your feelings to align with the text. The anticipation of completeness leads to the conflict with the “saw”, which then, spirals down to the critical climax. Frost gives character to the “saw” with the expressions “as if to prove saws knew what supper meant” (Frost, 2011, line 15) and “snarled and rattled” (Frost, 2011, line 7), almost bringing it to life. The points of view seem to shift from “they” to the “saw” with the phrase “he must have given the hand” (Frost, 2011, line 16), signifying the saw was reasoning to itself, and then back again. The conflict and the climax instinctively hinge on one another. The conflict of man against machine is evident with Frost saying “Neither refused the meeting” (2011, line 17), as if backing down would be futile. From there, the scene escalates from the initial shock and disbelief to the outright horror of amputation with “don’t let him (the doctor) cut my hand off” (Frost, 2011, line 26), which is the next level of denial. Frost steps off, one more time, to the definitive conclusion with the collection of phrases, such as, “the watcher…took fright” (2011, line 32), “listened at his heart, little—less—nothing” (2011, line 33), and “since they Were not the one dead” (2011, line 35). All are showing the sequence of deterioration into the final climax: Death. Frost, in this poem of untimely departure, depicts a sense of clarity with “the boy saw all” (2011, line 23), where he has time to reflect on his short life. It is commonly documented that people, who are revived from death, have an experience of lucidity. It is, also, human nature to disbelieve what misfortune casts upon us. Frost shows this with “don’t let him sister. But the hand was gone already” (2011, line 27). Frost illustrates how death, though mournful, is a recognized part of life with the phrase “and they…turned to their affairs” (2011, line 35). Life must continue for those still struggling to manage the barriers of living. The startling realization comes together by adding the elements to complete this crucial passage. Frost decisively procreates heart wrenching descriptions and approaches to break the grip of audacity that comes with youth. The theme to gather from this is to not take for granted what you have been given because it can be taken from you in a moment. Frost, himself, tells us the splendors we will miss in the passage “sweet-scented stuff when the breeze drew across it/ and from there those with eyes lifted could count/ five mountain ranges one behind the other” (Frost, 2011, lines 3-5): Magnificent. The ominous saw gives cause to the ever present dangers in life. Despite all accomplishments in life, death deals the final slap in the face, when life always carries onward without you. References Frost, Robert. (2011). Out,out—. In J. Nadell, J. Langan, & E. A. Comodromos (Eds.), The Longman writer: Rhetoric, reader, research guide, and handbook (8th ed.) [VitalSource Digital Version] (pp. 590-591). Boston, MA: Pearson.