Tragically for Thel, she appears to comprehend that this move can not happen without the afflictions of mortal life, and in view of her understanding, she doubts the value of going into mortal presence by any stretch of the imagination. Now, a combination of Thel 's thoughts can be made, keeping in mind the end goal to decide the wellspring of her fears. As a result of her insight into Death 's unavoidability, and her ensuing comprehension of the curtness of life, Thel 's tries to build a reason for mortal presence. When this pursuit is combined with her longing to "delicate hear the voice" of God after death, Thel 's apprehension of disappointment starts to develop. This trepidation will turn out to be more clear as the sonnet advances, and …show more content…
Like the Cloud, the Clod of Clay underlines that " 'we live not for ourselves '" and that everything has its motivation. The Clod of Clay most successfully passes on the last thought by illustration: when the Clod hears the sobbing Worm, she goes to its guide and solace, sustaining it with "smooth affection". In the event that a Clod of Clay is given a reason, an importance in life, ought not Thel have confidence that her life will have the same? This inquiry of confidence is articulately tended to by the Clod of Clay when she passes on to Thel that she doesn 't comprehend why God wants to give the life of a Clod of Clay reason, as well as a pride in that reason: " 'But how this is, sweet house keeper, I know not, and I can 't know,/I contemplate and I can 't consider; yet I live and cherish '". These last two lines cause a crucial change in Thel 's view of the mortal world, and in her association with its motivation and with God. She at last appears to comprehend that with a confidence in God, everything has its motivation, and that design is administration and penance for
First of all, the speaker starts her poem personifying death as a kind gentleman who comes to pick her up for her death journey. It is obvious if the reader looks at “He kindly stopped for me” (2). T...
... seeing and feeling it’s renewed sense of spring due to all the work she has done, she was not renewed, there she lies died and reader’s find the child basking in her last act of domestication. “Look, Mommy is sleeping, said the boy. She’s tired from doing all out things again. He dawdled in a stream of the last sun for that day and watched his father roll tenderly back her eyelids, lay his ear softly to her breast, test the delicate bones of her wrist. The father put down his face into her fresh-washed hair” (Meyer 43). They both choose death for the life style that they could no longer endure. They both could not look forward to another day leading the life they did not desire and felt that they could not change. The duration of their lifestyles was so pain-staking long and routine they could only seek the option death for their ultimate change of lifestyle.
Overall, dwell on this process of changing throughout the poem, it can be understood that the poet is demonstrating a particular attitude towards life. Everyone declines and dies eventually, but it would be better to embrace an optimistic, opened mind than a pessimistic, giving-up attitude; face the approach of death unflinchingly, calmly.
In this poem, the speaker’s encounter with death is similar to a courtship. In the first stanza of the poem the character Death is introduced as playing the role of the speaker’s suitor. In this way, this poem about death takes on an unexpected light tone, giving the reader a sense that the speaker is content to die and able to approach it with a sense of calm. Death’s carriage is also introduced in this stanza serving as a metaphor for the way in which we make our final passage to death. The final line in this stanza introduces a third passenger in the carriage. Both the uses of Immortality, the third passenger, as well as the use of Death are examples of personification.
Therefore, Oliver’s incorporation of imagery, setting, and mood to control the perspective of her own poem, as well as to further build the contrast she establishes through the speaker, serves a critical role in creating the lesson of the work. Oliver’s poem essentially gives the poet an ultimatum; either he can go to the “cave behind all that / jubilation” (10-11) produced by a waterfall to “drip with despair” (14) without disturbing the world with his misery, or, instead, he can mimic the thrush who sings its poetry from a “green branch” (15) on which the “passing foil of the water” (16) gently brushes its feathers. The contrast between these two images is quite pronounced, and the intention of such description is to persuade the audience by setting their mood towards the two poets to match that of the speaker. The most apparent difference between these two depictions is the gracelessness of the first versus the gracefulness of the second. Within the poem’s content, the setting has been skillfully intertwined with both imagery and mood to create an understanding of the two poets, whose surroundings characterize them. The poet stands alone in a cave “to cry aloud for [his] / mistakes” while the thrush shares its beautiful and lovely music with the world (1-2). As such, the overall function of these three elements within the poem is to portray the
The theme death has always played a crucial role in literature. Death surrounds us and our everyday life, something that we must adapt and accept. Whether it's on television or newspaper, you'll probably hear about the death of an individual or even a group. Most people have their own ideas and attitude towards it, but many consider this to be a tragic event due to many reasons. For those who suffered greatly from despair, living their life miserably and hopelessly, it could actually be a relief to them. Death affects not only you, but also those around you, while some people may stay unaffected depending on how they perceive it.
One must look at this poem and imagine what is like to live thru this experience of becoming so tired of expecting to die everyday on the battlefield, that one starts to welcome it in order to escape the anticipation. The effects of living day in and day out in such a manner creates a person who either has lost the fear of death or has become so frighten of how they once lived the compensate for it later by living a guarded life. The one who loses the fear for death ends up with this way of living in which they only feel alive when faced with death. The person in this poem is one who has lost their fear of death, and now thrives off coming close to it he expresses it when he states “Here is the adrenaline rush you crave, that inexorable flight, that insane puncture” (LL.6-7). What happens to this persona when he leaves the battlefield? He pushes the limit trying to come close to death to feel alive; until they push
Death, to the surrounding people, can often be seen as a horrible and depressing time in one’s life, while the same result may occur in the person going through the time period. One must remember, though, that no matter how the person has lived throughout their life, everyone must die eventually, for it is the circle of life. The playwright, Everyman, notes of the importance of having devotion and loyalty in Jesus Christ, for that is the only way to Heaven. Also, the play and The Sandbox greatly illustrate how a person near death is feeling and his emotions, while also describing the sympathy of others around him and their experiences.
In the first instance, death is portrayed as a “bear” (2) that reaches out seasonally. This is then followed by a man whom “ comes and takes all the bright coins from his purse / / to buy me…” This ever-changing persona that encapsulates death brings forth a curiosity about death and its presence in the living world. In the second stanza, “measles-pox” (6) is an illness used to portray death’s existence in a distinctive embodiment. This uncertainty creates the illusion of warmth and welcomenesss and is further demonstrated through the reproduction of death as an eminent figure. Further inspection allows the reader to understand death as a swift encounter. The quick imagery brought forth by words such as “snaps” and “shut” provoke a sense of startle in which the audience may dispel any idea of expectedness in death’s coming. This essential idea of apparent arrival transitions to a slower, foreseeable fate where one can imagine the enduring pain experienced “an iceberg between shoulder blades” (line 8). This shift characterizes the constant adaptation in appearance that death acquires. Moreover, the idea of warmth radiating from death’s presence reemerges with the introduction to a “cottage of darkness” (line 10), which to some may bring about a feeling of pleasantry and comfort. It is important to note that line 10 was the sole occurrence of a rhetorical question that the speaker
As a prelude to an inquiry into thematic elements of the poem, it is first necessary to draw out the importance of Fearing’s use of experimental form. Fearing “adheres” to the conventional use of strophic poetic construction, making use of epigrammatic style, where the seven stanzas separate the lament into isolated combinations and experiments on language and the content suggests each might stand alone as organic entities. Putting these highly-varied units into a single poem reflects on the incoherence of broader theme of death and the response to death, the dirge, as well as the notion that such a broad topic as death contains many sma...
In the famous “to be or not to be” soliloquy, Hamlet examines the power of death by suicide. The powerful words of “to be or not to be” question whether to live or not to live. Hamlet weighs the morality of “whether ‘tis nobler in the mind to suffer” or to end one’s life. In comparison, death is like sleep, a way to relieve the pain and suffering. Hamlet thinks death is the desirable course, but he worries about the uncertainty of afterlife. After Hamlet’s realization of the afterlife, he reconfigures his metaphor to include dreaming. It is the fear of the afterlife that prevents people from ending their pain with suicide. Hamlet finds i...
The natural bitterness of the sonnet is set up from the earliest starting point, when the storyteller starts with a specific end goal to get his mindset off of Lenore. The
Although I understand Shakespeare’s sonnet, and it does relate to me, I interpret his view of death in a different manner. In truth, death is inevitable, but I don’t wish to be consumed by the idea of it. Only through ever changing time can we create a deeper understanding of the world in which we live, and develop strength and compassion within ourselves and one another.
In the fifteen Dubliners stories, city life, religion, friends and family bring hope to individuals discovering what it means to be human. Two stories stood out in James Joyce’s Dubliners. One story attempts to mislead readers as it is hard to follow and the other story is the most famous story in the book. In the stories “Clay” and “The Dead,” James Joyce uses escape themes to deal with the emotions of the characters, Maria and Gabriel living in the Dublin society. Both stories take place during the winter on Halloween and Christmas, which are the holiday seasons and the season of death.
The slow feeling of the ending life is shown when the poem states, “we paused before…” with other terms like “and immortality” having its own line to emphasize the destination. The writer narrates the cause of death in the six-stanza poem in a journey form that depicts some interesting life experiences that people should have fun of during their lives. It is common that many individuals cannot stop for or wait for death that is if they can “see