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Robert FrostA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
“The Death of the Hired Man” is a narrative poem or eclogue, a pastoral poem written in dialogue form. Like other pastoral poems, it has a rural setting, and the characters are concerned with aspects of their rural life, i.e., whether to take in a former farm hand who has proven unreliable but now approaches death. The poem positions two characters who have a discussion at the end of which a third character, in the poem only through references by the other two, dies without explanation. There is little action in the narrative present—Mary intercepts Warren before he goes into the kitchen, tells him about the return of Silas, and then the two debate what to do with the old man. Warren is reluctant to give Silas another chance or to take him in; Mary wants to help the dying man. Then the high point of the narrative is an interior moment, an epiphany: Warren changes his mind, a tipping point moment that proves, ironically, too late to matter.
The poem itself is broken into irregular stanzas that reflect the back and forth of the couple’s conversation. Although the poem has been performed as a one-act play, the poem as is can be a challenge as the stanzas shift from Mary to Warren with little authorial intrusion or those convenient name identifiers associated with drama transcripts. Frost’s original concept can be appreciated by listening to Frost himself read the poem (available on YouTube) moving from Mary to Warren without changing tone or delivery.
The poem is crafted in a combination of free verse (which Frost disdained) and blank verse, unrhymed lines of iambic pentameter, which means five units of a two-beat unit called an iamb, in which the stress naturally falls on the second beat (as in the word “persist” or the phrase “It fits). Iambic meter parallels unaffected conversational speech. Iambic pentameter is a poetic meter associated with epic poetry, such as John Milton’s Paradise Lost and the verse dramas of Shakespeare.
With the exception of more concise lines that deliver critical tipping points (e.g., Line 46 or Line 49), each line has ten syllable beats, although Frost varies that beat pattern to avoid a singsong-y effect. Frost’s blank verse does not call attention to itself. However, it elevates to the epic and to the tragic what is otherwise a front porch conversation between a farmer and his wife over what to do with an unexpected interloper.
The poem is developed like a play. The poet steps in to set the stage, provide stage directions, and create continuity as the couple discusses what to do about Silas. Save for the stage directions, the poet never intrudes in this tense conversation. Mary and Warren reveal themselves through dialogue: Warren, hard-nosed, practical, emotionally reserved; Mary, compassionate, gentle, and understanding. The poem is an experiment in language, less about the fate of the hired hand and more about how language creates perception. What is interesting, of course, is the voice we never hear: Silas. Silas’s exchange with Mary is rendered through Mary. That voicelessness isolates Silas—he dies alone and unheard.
By Robert Frost