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The Death of the Hired Man by Robert Frost

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A weary old farmhand named Silas has arrived unexpectedly and in a daze at the farm where he once worked.

Poet
Robert Frost
Era
Modernist (1914)
Themes
death, home, identity
The PoemFull text

The Death of the Hired Man

Robert Frost, 1914

Mary sat musing on the lamp-flame at the table Waiting for Warren. When she heard his step, She ran on tip-toe down the darkened passage To meet him in the doorway with the news And put him on his guard. ‘Silas is back.’ She pushed him outward with her through the door And shut it after her. ‘Be kind,’ she said. She took the market things from Warren’s arms And set them on the porch, then drew him down To sit beside her on the wooden steps. ‘When was I ever anything but kind to him? But I’ll not have the fellow back,’ he said. ‘I told him so last haying, didn’t I? “If he left then,” I said, “that ended it.” What good is he? Who else will harbour him At his age for the little he can do? What help he is there’s no depending on. Off he goes always when I need him most. “He thinks he ought to earn a little pay, Enough at least to buy tobacco with, So he won’t have to beg and be beholden.” “All right,” I say, “I can’t afford to pay Any fixed wages, though I wish I could.” “Someone else can.” “Then someone else will have to.” I shouldn’t mind his bettering himself If that was what it was. You can be certain, When he begins like that, there’s someone at him Trying to coax him off with pocket-money,-- In haying time, when any help is scarce. In winter he comes back to us. I’m done.’ ‘Sh! not so loud: he’ll hear you,’ Mary said. ‘I want him to: he’ll have to soon or late.’ ‘He’s worn out. He’s asleep beside the stove. When I came up from Rowe’s I found him here, Huddled against the barn-door fast asleep, A miserable sight, and frightening, too-- You needn’t smile--I didn’t recognise him-- I wasn’t looking for him--and he’s changed. Wait till you see.’ ‘Where did you say he’d been?’ ‘He didn’t say. I dragged him to the house, And gave him tea and tried to make him smoke. I tried to make him talk about his travels. Nothing would do: he just kept nodding off.’ ‘What did he say? Did he say anything?’ ‘But little.’ ‘Anything? Mary, confess He said he’d come to ditch the meadow for me.’ ‘Warren!’ ‘But did he? I just want to know.’ ‘Of course he did. What would you have him say? Surely you wouldn’t grudge the poor old man Some humble way to save his self-respect. He added, if you really care to know, He meant to clear the upper pasture, too. That sounds like something you have heard before? Warren, I wish you could have heard the way He jumbled everything. I stopped to look Two or three times--he made me feel so queer-- To see if he was talking in his sleep. He ran on Harold Wilson--you remember-- The boy you had in haying four years since. He’s finished school, and teaching in his college. Silas declares you’ll have to get him back. He says they two will make a team for work: Between them they will lay this farm as smooth! The way he mixed that in with other things. He thinks young Wilson a likely lad, though daft On education--you know how they fought All through July under the blazing sun, Silas up on the cart to build the load, Harold along beside to pitch it on.’ ‘Yes, I took care to keep well out of earshot.’ ‘Well, those days trouble Silas like a dream. You wouldn’t think they would. How some things linger! Harold’s young college boy’s assurance piqued him. After so many years he still keeps finding Good arguments he sees he might have used. I sympathise. I know just how it feels To think of the right thing to say too late. Harold’s associated in his mind with Latin. He asked me what I thought of Harold’s saying He studied Latin like the violin Because he liked it--that an argument! He said he couldn’t make the boy believe He could find water with a hazel prong-- Which showed how much good school had ever done He wanted to go over that. But most of all He thinks if he could have another chance To teach him how to build a load of hay--’ ‘I know, that’s Silas’ one accomplishment. He bundles every forkful in its place, And tags and numbers it for future reference, So he can find and easily dislodge it In the unloading. Silas does that well. He takes it out in bunches like big birds’ nests. You never see him standing on the hay He’s trying to lift, straining to lift himself.’ ‘He thinks if he could teach him that, he’d be Some good perhaps to someone in the world. He hates to see a boy the fool of books. Poor Silas, so concerned for other folk, And nothing to look backward to with pride, And nothing to look forward to with hope, So now and never any different.’ Part of a moon was falling down the west, Dragging the whole sky with it to the hills. Its light poured softly in her lap. She saw it And spread her apron to it. She put out her hand Among the harp-like morning-glory strings, Taut with the dew from garden bed to eaves, As if she played unheard some tenderness That wrought on him beside her in the night. ‘Warren,’ she said, ‘he has come home to die: You needn’t be afraid he’ll leave you this time.’ ‘Home,’ he mocked gently. ‘Yes, what else but home? It all depends on what you mean by home. Of course he’s nothing to us, any more Than was the hound that came a stranger to us Out of the woods, worn out upon the trail.’ ‘Home is the place where, when you have to go there, They have to take you in.’ ‘I should have called it Something you somehow haven’t to deserve.’ Warren leaned out and took a step or two, Picked up a little stick, and brought it back And broke it in his hand and tossed it by. ‘Silas has better claim on us you think Than on his brother? Thirteen little miles As the road winds would bring him to his door. Silas has walked that far no doubt to-day. Why didn’t he go there? His brother’s rich, A somebody--director in the bank.’ ‘He never told us that.’ ‘We know it though.’ ‘I think his brother ought to help, of course. I’ll see to that if there is need. He ought of right To take him in, and might be willing to-- He may be better than appearances. But have some pity on Silas. Do you think If he had any pride in claiming kin Or anything he looked for from his brother, He’d keep so still about him all this time?’ ‘I wonder what’s between them.’ ‘I can tell you. Silas is what he is--we wouldn’t mind him-- But just the kind that kinsfolk can’t abide. He never did a thing so very bad. He don’t know why he isn’t quite as good As anybody. Worthless though he is, He won’t be made ashamed to please his brother.’ ‘_I_ can’t think Si ever hurt anyone.’ ‘No, but he hurt my heart the way he lay And rolled his old head on that sharp-edged chair-back. He wouldn’t let me put him on the lounge. You must go in and see what you can do. I made the bed up for him there to-night. You’ll be surprised at him--how much he’s broken. His working days are done; I’m sure of it.’ ‘I’d not be in a hurry to say that.’ ‘I haven’t been. Go, look, see for yourself. But, Warren, please remember how it is: He’s come to help you ditch the meadow. He has a plan. You mustn’t laugh at him. He may not speak of it, and then he may. I’ll sit and see if that small sailing cloud Will hit or miss the moon.’ It hit the moon. Then there were three there, making a dim row, The moon, the little silver cloud, and she. Warren returned--too soon, it seemed to her, Slipped to her side, caught up her hand and waited. ‘Warren?’ she questioned. ‘Dead,’ was all he answered.

Public domain

Sourced from Project Gutenberg

§01Quick summary

What this poem is about

A weary old farmhand named Silas has arrived unexpectedly and in a daze at the farm where he once worked. While he sleeps inside, the farmer Warren and his wife Mary sit on the porch steps, debating whether to take him in. Warren feels resentful about being left behind during harvest season, while Mary simply wants to extend a hand of kindness. By the time Warren goes inside to see how Silas is doing, it’s too late—Silas has already passed away.

§02Themes

Recurring themes

§03Line by line

Stanza by stanza, with notes

  1. Mary sat musing on the lamp-flame at the table / Waiting for Warren.

    Editor's note

    We start with Mary alone, already holding a secret. She’s been waiting to catch Warren before he goes inside, hinting that she anticipates trouble. The lamp's flickering flame casts a quiet, slightly tense atmosphere — she’s been sitting with this news long enough to practice how to share it.

  2. 'When was I ever anything but kind to him? / But I'll not have the fellow back,' he said.

    Editor's note

    Warren immediately expresses his grievance as soon as Mary mentions that Silas is back. His first question is defensive; he’s aware that he might come off as harsh, so he tries to deflect any potential criticism. The remainder of the stanza serves as Warren's argument against Silas: he points out that Silas departs every summer when the workload is heaviest and returns in winter when there’s little to accomplish. While Warren's anger makes sense, Frost allows us to hear the self-justification that lies beneath it.

  3. 'Sh! not so loud: he'll hear you,' Mary said. / 'I want him to: he'll have to soon or late.'

    Editor's note

    This brief exchange is a small drama in itself. Mary is looking out for Silas's dignity, even from afar; Warren has moved on. The difference between them is already striking—she focuses on emotions, while he prioritizes fairness and practicality.

  4. 'He's worn out. He's asleep beside the stove. / When I came up from Rowe's I found him here,'

    Editor's note

    Mary recounts discovering Silas huddled against the barn door, hardly recognizable. The vivid detail — the pitiful, alarming sight of him — serves as a powerful argument in itself. She isn't lecturing Warren; she's simply sharing what she witnessed, confident that the image will convey its meaning.

  5. 'What did he say? Did he say anything?' / 'But little.'

    Editor's note

    Warren keeps pushing for something he can work with — a solid reason to either take Silas in or to send him away. Mary's 'But little' carries a hint of amusement. She understands Warren well enough to know he'll keep at it until he gets the answer he's looking for: that Silas said he came to work.

  6. 'Of course he did. What would you have him say? / Surely you wouldn't grudge the poor old man / Some humble way to save his self-respect.'

    Editor's note

    Mary explains why Silas claimed he came to leave the meadow—not because he truly can, but because he needed a reason beyond just 'I have nowhere else to go.' This moment in the poem shows great compassion. She recognizes that dignity is important, even when, or especially when, a person has very little left.

  7. 'He ran on Harold Wilson--you remember-- / The boy you had in haying four years since.'

    Editor's note

    Mary recounts Silas's lengthy talk about Harold Wilson, a college kid who used to work with him. The argument they had — practical knowledge versus theoretical learning — still seems to affect Silas even after all these years. Frost uses this to reveal a man whose self-worth is entirely linked to one ability: knowing how to stack hay correctly. It's both moving and somewhat sad.

  8. 'I know, that's Silas' one accomplishment. / He bundles every forkful in its place,'

    Editor's note

    Warren's portrayal of Silas's hay-stacking is surprisingly warm and detailed. For a brief moment, his bitterness fades, and he expresses real respect for the craft. This is Frost demonstrating that Warren's feelings toward Silas are more nuanced than mere resentment — he recognizes the man's value, even if he doesn't articulate it openly.

  9. 'And nothing to look backward to with pride, / And nothing to look forward to with hope,'

    Editor's note

    This is the emotional heart of the poem. In just two lines, Mary captures Silas's whole predicament: he has no past to take pride in and no future to strive for. The parallel structure gives it a sense of finality, almost like a verdict. This marks the point where the poem transitions from a domestic dispute to a deeper reflection on the meaning of life.

  10. Part of a moon was falling down the west, / Dragging the whole sky with it to the hills.

    Editor's note

    Frost pulls away from the conversation to present a vivid landscape. The moon 'dragging' the sky implies a weighty, unavoidable fate—it subtly hints at Silas's death without making it explicit. Mary's gesture of spreading her apron to catch the moonlight and reaching into the morning-glory strands 'as if she played unheard some tenderness' stands out as one of the poem's most beautiful moments. She's attempting to soften Warren without saying a word.

  11. 'Warren,' she said, 'he has come home to die: / You needn't be afraid he'll leave you this time.'

    Editor's note

    Mary finally voices what she's known since discovering Silas at the barn door. The line "you needn't be afraid he'll leave you this time" carries a gentle yet firm tone—she's addressing Warren's main concern while signaling that the argument is finished. The word "home" appears here for the first time, quickly establishing itself as the poem's central question.

  12. 'Home is the place where, when you have to go there, / They have to take you in.'

    Editor's note

    Warren’s well-known definition of home feels practical, almost like a legal term—home is about obligation rather than warmth. In contrast, Mary describes home as “something you somehow haven’t to deserve,” framing it as unconditional grace. Both perspectives hold truth, and Frost doesn’t choose one over the other. The tension between these definitions lies at the moral core of the poem.

  13. 'Silas has better claim on us you think / Than on his brother? Thirteen little miles / As the road winds would bring him to his door.'

    Editor's note

    Warren poses a practical question: why didn't Silas turn to his wealthy brother? It's a valid concern, and Mary acknowledges it. However, her response—that Silas is too proud to ask for help from relatives who see him as inferior—shifts the focus. Silas approached Warren and Mary specifically because he knows he won’t feel ashamed with them.

  14. 'Silas is what he is--we wouldn't mind him-- / But just the kind that kinsfolk can't abide.'

    Editor's note

    Mary's explanation of the estrangement from Silas's brother hits hard. He's not a bad person, just someone families can find a bit embarrassing — not quite successful, not quite respectable. The fact that he'd rather be among near-strangers than face their judgment speaks volumes about how the people who should have supported him have made him feel.

  15. 'I'll sit and see if that small sailing cloud / Will hit or miss the moon.' / It hit the moon.

    Editor's note

    Mary waits outside while Warren steps inside to check on Silas. The cloud covering the moon is a sharp, clear image of something unavoidable approaching — it reflects what Warren is about to discover. Frost presents us with the three figures in succession: the moon, the cloud, and Mary. She has blended into the landscape, patiently waiting.

  16. Warren returned--too soon, it seemed to her, / Slipped to her side, caught up her hand and waited.

    Editor's note

    The ending feels intensely restrained. Warren returns too soon — Mary understands what that implies before he even speaks. He takes her hand and utters just one word: 'Dead.' Frost doesn't provide a grief scene or a eulogy. The poem simply halts, like a conversation that ends when there’s nothing more to discuss. It’s one of the most powerful conclusions in American poetry.

§04Tone & mood

How this poem feels

The tone feels calm and homey—like two people chatting on porch steps at night—but beneath the simple exchange, there's a persistent undercurrent of grief and moral complexity. Warren comes across as tough and pragmatic, while Mary seems patient and caring, and Frost manages to balance both tones without favoring one over the other. By the poem's conclusion, it shifts from irritation to tenderness to loss, all while maintaining a quiet voice.

§05Symbols & metaphors

Symbols & metaphors

The moon and the cloud
The moon quietly watches over the night, and the small cloud that brushes against it at the end resembles the arrival of death — something that effortlessly finds its way to where it belongs. For Mary, observing the cloud is her way of anticipating news she knows is inevitable.
Home
The word 'home' encapsulates the poem's entire argument. Warren sees it as an obligation, while Mary views it as grace. For Silas, home is just the place he decided to go back to when he had no other options — and the poem questions whether this choice, made out of desperation, can truly be considered a sense of belonging.
The load of hay
Silas's one skill — building a hay load properly — represents human dignity and the importance of being useful. It's the only thing he has to give, and the only thing he wants to share with Harold Wilson. The fact that this skill goes unrecognized by the educated world around him contributes to his sense of brokenness.
The morning-glory strings
Mary reaching into the dew-kissed morning-glory vines 'as if she played unheard some tenderness' paints a picture of care that words can't capture. She's attempting to ease Warren's heart through the atmosphere rather than through direct discussion — this gesture symbolizes the quiet, unrecognized emotional work she carries out throughout the poem.
The broken stick
Warren grabs a stick, snaps it in half, and throws it aside. It's a small, fidgety action that reveals his unease — he’s swayed by Mary's points but isn't quite ready to own up to it. The shattered stick symbolizes his struggle within.
Silas's hazel prong
The water-divining rod Silas refers to — the hazel prong he uses to locate water — symbolizes folk knowledge and intuitive skill, a type of understanding that's not learned in school. His annoyance at Harold Wilson's disbelief reflects a deeper frustration with a society that prioritizes credentials over real-life experience.

§06Historical context

Historical context

Robert Frost published this poem in 1914 as part of his collection *North of Boston*, which helped establish him as a poet focused on rural New England life. Interestingly, the book was first released in England, where Frost had moved with his family in 1912 to escape financial struggles and seek a literary audience. *North of Boston* introduced Frost's concept of 'the sound of sense' — the notion that the rhythms of everyday speech convey meaning on their own, separate from the actual words. 'The Death of the Hired Man' stands out as one of the longest and most dramatic poems in the collection, primarily told through dialogue. The rural New England backdrop mirrors Frost's own experiences farming in Derry, New Hampshire, where he likely encountered men like Silas — seasonal workers without a stable home, relying on the goodwill of the farmers they assisted. The poem emerged during a time when rural American life was rapidly evolving, and individuals like Silas were facing increasing uncertainty.

§07FAQ

Questions readers ask

An old farmhand named Silas has returned to the farm where he once worked, worn out and close to death. The farmer, Warren, wants to send him away because Silas tends to leave during the worst moments; however, his wife Mary wants to take him in. As they debate what to do, Silas passes away inside the house. The poem explores our responsibilities towards those who are alone and delves into the true meaning of 'home.'

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