‘Out, Out—’（1916）
“‘出去 - ’”是弗罗斯特最戏剧性和著名的诗之一。它是在纪念邻里的男孩弗罗斯特（Frost）中写的，他知道他何时住在新罕布什尔州弗朗西尼亚。16岁的双胞胎雷蒙德·特雷西·菲茨杰拉德（Raymond Tracy Fitzgerald）住在伯利恒外的南路。关于他突然去世的一篇文章出现在利特尔顿快递员1910年3月31日。弗罗斯特（Frost）非常了解男孩。弗罗斯特（Frost）的孩子和菲茨杰拉德（Fitzgerald）一起演奏。菲茨杰拉德（Fitzgerald）在1910年3月24日的震惊和心力衰竭中失去了生命，这是在被嗡嗡作响的锯束缚的瞬间（汤普森，566-567）。
标题的“‘out of of of out —'麦克白: “Out, out, brief candle! / Life’s but a walking shadow, a poor player / That struts and frets his hour upon the stage / And then is heard no more: it is a tale / Told by an idiot, full of sound and fury, / Signifying nothing.” Robert Pack holds that Frost’s “ ‘Out, Out—’ ” “is a confrontation with such nothingness” and that the “meaninglessness of death is anticipated early in the poem with the image of dust” (158).
The young boy is assisting in the sawing of wood in his backyard. He is a “big boy / Doing a man’s work, though a child at heart.” The buzz saw is depicted as animate and malevolent from the start. It is described as snarling and rattling in the yard, seemingly out of control, as if on the lookout for something to tear into. The wood the boy is cutting, in contrast, is referred to as “[s]weet scented stuff,” calling to mind the child’s youth and innocence in contrast to the work he is doing. The brutality of the saw and how quickly it can cut through wood or flesh also is acknowledged. The scene is seductively picturesque. It is dusk, and five Vermont mountain ranges are visible “[u]nder the sunset.” The scene has a rustic serenity that the saw’s buzzing, snarling, and rattling interrupt.
在黑色背景上熄灭蜡烛的烟雾。
The speaker explains how the saw snarled and rattled, yet “nothing happened: day was all but done.” In other words, the saw had been doing its job without causing any harm until now. He wishes they had simply “call[ed] it a day,” because by doing so the incident might have been avoided. It was all in the timing. There is a sense that the slightest change in the day’s events would have changed everything. If only the boy had been given a half an hour at rest or at play instead, Frost speculates in hindsight.
The boy’s sister comes to call the workers for supper and “At the word, the saw, / As if to prove saws knew what supper meant, / Leaped out at the boy’s hand, or seemed to leap— / He must have given the hand.” The description of the accident is startling. It is presented as a chain effect. The girl announces “Supper,” and her simple utterance begins the chain reaction. The poem treats her as the beginning, if not the cause. She has called the boy for dinner and has somehow met the time frame of the saw, perhaps by drawing the boy’s attention away. The responsibility is not hers, but her role makes clear the pain she would feel about her involvement. The animated saw is seen to respond to her utterance, rather than, as might be supposed, her call causing the boy to avert his eyes from his task to look up, thereby losing control of the saw. It is suggested that the saw actually leapt, as though it was waiting, anticipating the moment when it could do so. Its actions appear premeditated. But then Frost writes that the boy must have “given” the hand, returning to reality, to the sudden recognition that the chain of events he has described is inaccurate. His conclusion is an acceptance that neither hand nor saw “refused the meeting.” There is a macabre element to this insight, as though hand and saw somehow sought each other out.
“这个男孩的第一个强烈抗议是一个令人毛骨悚然的笑声”，好像他认识到发生了什么的严重性，并且可以以某种方式预见他的死亡。这个男孩笑了，因为他被惊讶地抓住了 - 发生的事情还不是真实的。他感到震惊，认为当他的手已经被严重撕裂时，他的手仍然完好无损。他坚持下去，以保持“生命”和鲜血“免于溢出”，但也要保持“吸引力”，希望可以做些事情，可以撤消某些事情。这个男孩“看到所有人都被宠坏了”，好像他看到了他的短暂生活，一瞬间就过去了。罗伯特·菲格（Robert Faggen）指出，“男孩失去了手，这是人类解剖学的关键部分，它将该物种与其他所有物种区分开，并代表了能够创造，生产和使用工具的变体。具有讽刺意味的是，它被其创建的工具切断。具有讽刺意味的是，它创造的工具成为了对其创造者的武器”（153）。
医生来了，将男孩“放在以太的黑暗中”。但是他只和男孩在一起片刻，然后男孩像他的手一样快。“没有人相信”他死了，比男孩认为自己的手失去了更多。他们倾听，嗡嗡声锯齿的咆哮和嘎嘎作响。场景没有声音，除了男孩的微弱脉搏。“很少 - 没有！”是声明，也是“那个结局”。
现场，男孩的生活，结束了。扬声器独立，冷静地解决；“不再建立在那里。”“而且，由于他们 /不是死者，他们转向了他们的事务。”最后一句话回应了“家庭葬礼”结束时妻子死亡的观点：
One is alone, and he dies more alone.
朋友们假装追随坟墓，
但是在其中一个人中，他们的思想转向了
And making the best of their way back to life
和活着的人以及他们理解的事物。
这两首诗都涉及男孩的死亡，尽管年龄不同，并且是通过不同的手段。杰伊·帕里尼（Jay Parini）写道：“尽管这些台词听起来很无情，但弗罗斯特（Frost）提出了一种应对悲伤的方式。通过重新融入生活的事务，这需要关注（尤其是在世纪之交的一个贫穷的农场的背景下），悲伤的家庭能够通过悲伤工作。”帕里尼还指出，当弗罗斯特（Frost）和他的妻子埃利诺（Elinor）失去了小儿子埃利奥特（Elliott）到霍乱时，他们“不能简单地停下来。”他们有一个14个月大的女儿莱斯利（Lesley）和需要照顾的鸡（70）。
尽管如此，这个措辞还是像报纸报道一样寒冷和事实。但是，当面对一个人的这种丧失，自然界如此残酷时，人们如何回应呢？罗伯特·普克（Robert Pack）认为，演讲者“在他讲的故事之外”，但“希望像他可能有所帮助一样进入现场，就像他可能有所帮助一样”（158）。这是说话者在诗歌开始时所做的努力，将其称为一天，在完成之前撤消的努力。Faggen还发现：“这首诗在接受个人生活在一般机械中意外牺牲的方式的最终接受语调是相当坚强的。在这里，机械是一种嗡嗡声，掩盖了自己的生命，并摧毁了创造它的手”（152）。对生命的随机性的认识，面对毫无意义的行为，脆弱性突然结束。但是，这首诗也可以说是以苦涩和沮丧而结束，而不是酷炫的分离。毕竟，演讲者不是“转向事务”的人之一，而是仍在努力建立“不再是”。
The poem was first published in July 1916 inMcClure’s;后来收集到山间隔。
进一步阅读
Bruels，Marcia F.“ Frost的'Out，Out -of，’2（1997年冬季）：85-88。克莱默（Cramer），杰弗里·罗伯特（Jeffrey S.北卡罗来纳州杰斐逊：麦克法兰，1996年。罗伯特·弗罗斯特（Robert Frost）和达尔文（Darwin）的挑战。安阿伯：密歇根大学出版社，1997年，第152-153页。霍夫曼，泰勒。罗伯特·弗罗斯特（Robert Frost）和诗歌政治。新罕布什尔州汉诺威：米德伯里学院出版社，2001年。“弗罗斯特的'出去，'，”解释器49，没有。 3 (Spring 1991): 167–169. Pack, Robert. Belief and Uncertainty in the Poetry of Robert Frost. Hanover, N.H.: Middlebury College Press, 2003. Parini, Jay. Robert Frost: A Life. New York: Holt, 1999. Sears, John F. “The Subversive Performer in Frost’s ‘Snow’ and ‘Out, Out—,’ ” In The Motive for Metaphor: Essays on Modern Poetry, edited by Francis C. Blessington and Guy L. Rotella, 82–92. Boston: Northeastern University Press, 1983. Thompson, Lawrance. Robert Frost: The Early Years. New York: Holt, Rinehart and Winston, 1966.
类别:美国文学，，，，Literary Criticism，，，，文学，，，，Modernism，，，，Poetry
Modernism
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Analysis of Robert Frost’s Skeptic
罗伯特·弗罗斯特（Robert Frost）的仆人分析
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