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death explanation in poetry
death in literature
death explanation in poetry
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Being hurt emotionally by death is by far the worst kind of pain in the world. It causes one to completely shy away from doing what is right. Alice Dark’s In the Gloaming, illustrates selfishness in one character, and righteousness in another. Although this story is written in third person, it is out of Janet’s perspective. Janet plays the role of the protagonist character. She spends all of her time taking care of Laird and making him happy. Dark gives her readers many symbols and metaphors throughout her story to explain her theme. She tells a story about a family that is being pulled apart by their brothers and sons homosexuality as well as his death from AIDS. According to David Caron, “The family is an institution, and like all institutions its primary purpose is its own maintenance. AIDS, on the other hand, is the inassimilable difference that intrudes on the family.” AIDS intrudes on this family and breaks it apart, leaving Laird with only his mother left to comfort him.
Laird’s first words were “The gloaming,” these very words symbolize his life and what is happening to...
This article is written in the first person's point of view. The style is informal, almost chatty in spite of the morbid topic it deals with. The author uses this style to tell the reader a story, like telling a friend an experience. The author's feelings and thoughts are freely expressed. This helps to put the reader into the author's shoes, to see through her eyes and feel through her heart.
The very beginning of the article, Dr. Khullar appeals to the emotions of a reader, reminiscing about an interaction between himself and a dying patient. He explains how the patient had no one to call and would die alone, causing himself to think that “the sadness of his death was surpassed only by the sadness of his solitude” (Khullar). The feeling of sadness and loneliness is continued using other scenarios that one likely is familiar with, such as “a young man abandoned by friends as he struggles with opioid addiction” or “an older woman getting by on tea and toast, living in filth, no longer able to clean her cluttered apartment” (Khullar). Dr. Khullar also uses this strategy through the use of various phrases such as “barren rooms devoid of family or friends,” or a quote from a senior: “Your world dies before you do” (Khullar). These scenarios and terminology evoke a feeling within a reader that results in acknowledgement of the material and what is being
...mark instead of embracing the birth-mark that was given to her. Nathaniel Hawthorne reveals that desire for perfection is a dreadful objective. The Wilfred Owen reveals to his audience that if a person shows the reality, then let the person decide for how he or she wants to deal with things accordingly. The last lesson is never to live a life wanting to please others. Both the soldier and Georgiana wanted to please their lovers. Unfortunately, they end up hurting themselves. Georgiana’s death reveals that a person should never try putting his life in jeopardy. Georgiana and the soldier should not let people coerce them into doing a something they love. It is hard to depict what Aylmer sadness is after his wife dies. Aylmer possibly realizes that he took his wife for granted. The soldier realizes that trying to please another person ends up making life worse.
The characters in Alice Sebold’s The Lovely Bones are faced with the difficult task of overcoming the loss of Susie, their daughter and sister. Jack, Abigail, Buckley, and Lindsey each deal with the loss differently. However, it is Susie who has the most difficulty accepting the loss of her own life. Several psychologists separate the grieving process into two main categories: intuitive and instrumental grievers. Intuitive grievers communicate their emotional distress and “experience, express, and adapt to grief on a very affective level” (Doka, par. 27). Instrumental grievers focus their attention towards an activity, whether it is into work or into a hobby, usually relating to the loss (Doka par. 28). Although each character deals with their grief differently, there is one common denominator: the reaction of one affects all.
The activities planned for Doodle were rigorous and draining, but Doodle loved his brother and wanted to make him proud. Despite being told he couldn’t walk, Doodle went along with his brother’s training. He had the complete trust that only comes from pure love. “Oh yes you can, Doodle,” I said. “All you got to do is try. Now come on, and I hauled him up once more.” Doodle went along with his brother, even though it sometimes hurt. He never gave up, and if he tried his brother was always there to press Doodle onward. In a way, I think the love of Doodle should have been much more precious to his brother than the activities they planned. Every second with one who came so close to death should be revered and held tightly. The narrator is locked in a battle with what he feels socially acceptable and his love for his little brother. This sought after, “social acceptance,” drove the brother to push away Doodle’s dependency on him. This was how Doodle died, but he never stopped loving his brother. “Brother, brother, don’t leave me! Don’t leave me!” Doodle cries out into the vicious storm. He doesn’t say to his brother somet...
Her family life is depicted with contradictions of order and chaos, love and animosity, conventionality and avant-garde. Although the underlying story of her father’s dark secret was troubling, it lends itself to a better understanding of the family dynamics and what was normal for her family. The author doesn’t seem to suggest that her father’s behavior was acceptable or even tolerable. However, the ending of this excerpt leaves the reader with an undeniable sense that the author felt a connection to her father even if it wasn’t one that was desirable. This is best understood with her reaction to his suicide when she states, “But his absence resonated retroactively, echoing back through all the time I knew him. Maybe it was the converse of the way amputees feel pain in a missing limb.” (pg. 399)
The author initially uses words with negative connotation, such “wild,” “storm of grief,” and “sank into her soul” (1), to suggest a normal reaction to the death of a loved one.
In Amy Hempel’s Short Story “Going,” we take part in a journey with the narrator through loss, coping, memory, experience, and the duality of life. Throughout the story we see the narrator’s struggle through coping with the loss of his mother, and how he moves from a mixture of depression, denial, and anger, to a form of acceptance and revelation. The narrator has lost his mother to a fire three states away, and goes on a reckless journey through the desert, when he crashes his car and ends up hospitalized. Only his thoughts and the occasional nurse to keep him company. He then reaches a point of discovery and realizations that lead to a higher understanding of mortality, and all of the experiences that come with being alive.
Looking back on the death of Larissa’s son, Zebedee Breeze, Lorraine examines Larissa’s response to the passing of her child. Lorraine says, “I never saw her cry that day or any other. She never mentioned her sons.” (Senior 311). This statement from Lorraine shows how even though Larissa was devastated by the news of her son’s passing, she had to keep going. Women in Larissa’s position did not have the luxury of stopping everything to grieve. While someone in Lorraine’s position could take time to grieve and recover from the loss of a loved one, Larissa was expected to keep working despite the grief she felt. One of the saddest things about Zebedee’s passing, was that Larissa had to leave him and was not able to stay with her family because she had to take care of other families. Not only did Larissa have the strength to move on and keep working after her son’s passing, Larissa and other women like her also had no choice but to leave their families in order to find a way to support them. As a child, Lorraine did not understand the strength Larissa must have had to leave her family to take care of someone else’s
The childhood of Frances Piper consists of inadequate love, loss of innocence and lack of concern, ultimately leading to her disastrous life. As a six year old child, she encounters several traumatic events, explicitly the death of her loved ones and the loss of her innocence. Over the course of one week, there have been three deaths, two funerals and two burials in the Piper family. “Frances was crying so hard now that Mercedes got worried. ‘I want my Mumma to come ba-a-a-a-ack.’”( McDonald 174). As a young child, there is nothing more upsetting than losing a mother. A family is meant to comfort each other to fulfill the loss of a loved one; however, this is not the case in the Piper family. Mercedes, only a year older than Frances, tries to console her even though she herself is worried. The loss of motherly love and affection has a tremendous impact on her future since now her sole guardian, James, expresses no responsibility towards her. Instead, he molests Frances on the night of Kathleen’s funeral to lessen the grief of his lost daughter. As a result “These disturbing experiences plague Frances with overwhelming feelings of low self worth and guilt that haunt h...
In her article, Quindlen delivers her position to the massive mixed audience of the New York Times, drawing in readers with an emotional and humanizing lure; opening up about her family life and the deaths she endured. Later presenting the loss of her brother's wife and motherless children, Quindlen use this moment to start the engine of her position. Quindlen uses her experiences coupled with other authority figures, such as, the poet Emily Dickenson, Sherwin Nuland, doctor and professor from Yale, author Hope Edelman, and the President. These testimonies all connect to the lasting effects of death on the living, grief. She comes full circle, returning to her recently deceased sister-in-law; begging t...
What does it feel like to die? Does it hurt the person or the loved ones left behind? Alexandra Kleeman’s short story ‘You, Disappearing’ gives the reader a sense of death and it’s possible outcomes while giving the tale of fear and love. While some are concerned of their own demise, others give no thoughts towards time and when it will end. Kleeman writes in a strong figurative language, for example, death is hard not be concerned about due to there being no way to fully understand the spiritual and physical aspects to why it happens and seemingly enough, those who know are already dead. The main character in this short story is strongly in love with her deceased partner, and represents herself through the story with a constant need of approval and appreciation of her own life. Portraying the fear of loss by an apocalyptic setting, Kleeman grants characterization to seemingly unrelated objects by tying them together from senses and memories in her short story, “You, Disappearing.”
Through an intimate maternal bond, Michaels mother experiences the consequences of Michaels decisions, weakening her to a debilitating state of grief. “Once he belonged to me”; “He was ours,” the repetition of these inclusive statements indicates her fulfilment from protecting her son and inability to find value in life without him. Through the cyclical narrative structure, it is evident that the loss and grief felt by the mother is continual and indeterminable. Dawson reveals death can bring out weakness and anger in self and with others. The use of words with negative connotations towards the end of the story, “Lonely,” “cold,” “dead,” enforce the mother’s grief and regressing nature. Thus, people who find contentment through others, cannot find fulfilment without the presence of that individual.
From the 1955 autobiography by Elie Wiesel, Night, and the 1997 Italian film directed by Roberto Benigni, Life is Beautiful, the real experiences of the Holocaust are captured in two perspectives. Yet in both Night and Life and Beautiful, Wiesel and Benigni showcase the subjects/ideas of family and silence. While Night and Life is Beautiful both demonstrate the theme of family being more valuable than a life similarly, they develop the theme of silencing the truth in very different ways.
Love, as with all other things, brings pain and suffering. Suffering is an emotion individuals encounter everyday, some more than others. “How to Watch Your Brother Die”, Michael Lassell uses point of view, dialogue, and contrast of language to better exemplify the challenges of homosexuality in today’s society through the eyes of an orthodox straight man, and how the death of a homosexual brother has influenced the main character’s attitude towards his brother, his brother’s lover, and life itself.