“Because I Could Not Stop For Death” by Emily Dickinson: an Explication Emily Dickinson is known for writing about poetry and its connection to death. The poem suggests some type of peace with death. It is not hard to see death as a comfort after reading "Because I Could Not Stop for Death". However, the grave becomes insignificant and death losses control. This gives eternal life after death the victory.
Romanic Elements on Longfellow’s “A Psalm of Life” ”A Psalm of Life” by Henry Wadsworth Longfellow is a poem written by one of the fireside poets that demonstrates Romanticism. As one of the fireside poets, there is a certain aspect of comfort and easy reading that is associated with each poem that is written, and one of these aspects of romanticism demonstrated in the poem is inspiration. An example from the text to support this is that fact that Longfellow wrote this poem after the death of his wife and kids (Longfellow page 256).This relates to inspiration because after going through a mournful time in his life, Longfellow was inspired to write “A Psalm of Life” about the ways of life both the ups and downs. Another example, of inspiration in “A Psalm of Life” is the fact that Longfellow used nature as an inspiration to talk about the afterlife and in comforting the audience, telling them they’re not alone and in a way that everything is going to be okay. Along with inspiration, Longfellow also used another aspect of romanticism in his poem, imagination.
How does the exploration of the connections between two texts from different times deepen our understanding of what is constant in human nature? The comparative study of the poetry of John Donne and Margaret Edson’s play, W;t, reveals changes in context inform what we value in human nature, specifically in regards to finitude, relationships and humanity. John Donne’s Holy Sonnets, ‘Death be not proud’, ‘This is my playes last scene’ and ‘If poysonous mineralls’ explore the fear of death and the need to belittle it, whereas ‘Hymne to God my God, in my Sicknesse’ (‘Hymne’) and ‘A Valediction: Forbidding Mourning’ (‘Valediction’) deal with the idealised, spiritual aspects of love and relationships. The need to undermine the power of death is reflected, though expressed differently, in both ‘Death be not proud’ and W;t. In ‘Death be not proud’, the personification of death, the logical argumentative structure and tone of the sonnet cohesively highlight the idea that death is not the absolute end, and can be transcended through a religious belief in salvation. In the concluding couplet, Donne affirms that after “one short sleepe” imposed upon us by death, we wake to the eternal life of salvation and in that life of the soul, “death shall be no more”.
Dickens incorporates specific scenes towards the beginning of the novel that later have a deeper meaning. This is especially apparent between Book Two and the last scene. Darnay professing his love for Lucie turns into him dying for her. Darnay getting acquitted, due to his similar looks to Carton, turns into being saved from the guillotine. He incorporates these particular scenes to ultimately lead to the culmination of the entire
In the same way, Macbeth also uses imagery related to light and darkness as the play nears its end and the re-establishment of good becomes inevitable. This quotation serves as a good example: "Out, out, brief candle! / Life's but a walking shadow..." (Act V, scene v, lines 4-23) - surely one of the most world-weary speeches in all Shakespeare! So although so much of the play takes place in darkness, it ends in the light of day as Birnam Wood is seen to move towards Macbeth's castle. The light of goodness is re-established by the end of the play as the new king is
Because you see this, your love is made stronger, to love well that which you must soon leave. Why is he saying it? Sonnet 73 is almost as exemplary as sonnet 60 in expressing the theme of the ravages of time. The sonnet focuses on the narrator's own anxiety over growing old and, like sonnet 60, each quatrain of sonnet 73 takes up the theme in a unique way, comparing the narrator's "time of
‘Red’ is the final poem in ‘Birthday Letters’. Hughes constructs ‘Red’ to summarise their life and experiences, and give these experiences meaning. He does this through exploring a range of perspectives and techniques in the poem which help shape our understanding of his conflicting perspective to Sylvia. ‘Red’ particularly differs in perspective when compared to ‘Fulbright’. For example in ‘Red’ he addresses the presence of his wife directly making the link between them seem more vivid and tangible in comparison to “Fulbright”.
As the narrator passes the elements of her past and comments on her time spent there, the central theme concerning the unavoidability of death and the reflection of life emerges. The story is being told from a woman who has passed many centuries ago, therefore, readers are getting an immortal perspective on the mortal experience. Elements of time, nature, life, and death all help to redefine the mortal relationship with death by means of an immortal perspective, and Dickinson’s precise use of literary devices puts a sophisticated spin on the previously morbid topic. Emily Dickinson's diction immediately characterizes the traditional grim portrait of death as a gentleman, as he "kindly" stopped for the narrator. Already, Dickinson has readers reevaluating death and personifies it as a friend rather than a feared enemy.
One would not expect Dickinson to use the fading of light for poems about death. Dickinson tends to toy with the subject in many of her works. “Because I Could Not Stop for Death” falls under the vast category associated with the light imagery in poems about death. Immediately in the first line, Dickinson implies that there is some force that makes it impossible to succumb to death’s call. Following in the second line, “He kindly stopped for me”, implies that the creeping chill of death that was upon her drew back to a halt.
Second: Morality confers a compensatory value of life. And most importantly third: Age is a paralytic stasis of body and health. Then she analyzes the connection between Stevens´s poetic structures and content of his poems. Stevens´s late works seem to be nearly obsessed with experience of time and death. His most impressive and distinctive stylistic analogies to one of his favorite topics are repetitive forms which recall strongly the stasis of the end described in Vendler´s premises to Steven´s work.