How are imagery and personification used to create the setting and bring to life the tragedy at the heart of "Out, Out—"?

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In an unusual device, Frost repeats the phrase "snarled and rattled" when referring to the buzz saw. This personifies the saw with one word and emphasizes its mechanical nature with the other. The buzz saw is clearly the type of machine that behaves capriciously, perhaps because of its age, leading those who use it to attribute malevolent intent to the machine. At the crucial moment, this effect is intensified:

His sister stood beside him in her apron
To tell them "Supper." 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—
The saw is personified by the idea that it leaps at the mention of the word "supper"; yet even as he creates this image, the poet distances himself from the personification with the words "as if" and the qualification "or seemed to leap." This gives the reader a sense of the separation between a natural emotional reaction to the tragedy and a rational knowledge that buzz saws are inanimate objects.
The imagery of the boy's surroundings is calm and peaceful. With lifted eyes, the observer could count
Five mountain ranges one behind the other
Under the sunset far into Vermont.
This provides a contrast to the tragedy in the foreground, which is even more stark and painful in the final lines of the poem:
No more to build on there. And they, since they
Were not the one dead, turned to their affairs.
The landscape is uncaring in its serenity, but this is only to be expected. However, the poet shows that the people around the boy were barely more affected than the landscape, an image which does not so much personify the mountains as dehumanize the people, in an inversion of the pathetic fallacy.
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