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Personification of death in poems
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In this excerpt from We Were the Mulvaneys, Joyce Carol Oates explores the theme of death and the passing of time. The author characterizes Judd through the use of symbolism of a rushing brook to show Judd’s helplessness, stream-of-consciousness writing that reveals Judd’s tortured and confused thoughts, and repetition of a key thought to further emphasize Judd’s deep-thinking and tortured character.The except begins with Judd falling into a trance over a rushing brook. This brook begins his thoughtful journey, and symbolizes the years rushing past. This symbol shows us how, like the brook, the journey of life can absorb us; “it began to happen as it always does the water gets slower and slower and you’re the one who begins to move —oh boy! We-ird!” Just like life, the brook is glimmering and hard to hold on …show more content…
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Judd’s character is revealed through his interaction with the brook; he feels helpless, and by extension that he feels helpless in the face of the relentless march of time. The symbol of the brook explores the theme of death and the passing of time by revealing that we are helpless against its advances.Throughout the excerpt, Oates employs stream-of-consciousness writing to reveal the inner workings of Judd’s mind. He fixates on things like the sound of his heartbeat: “helpless, in that instant aware of my heart beating ONEtwothree ONEtwothree!” and shows us the connections between his helplessness and his thoughts about death: “in a trance that was like a trance of fury, raging hurt Am I going to die? because I did not believe that Judd Mulvaney could die.” This glimpse into Judd’s thoughts provides the reader with invaluable insight on his character. His convoluted thought processes show us that he is a deep thinker, introspective for his young age of eleven or twelve, and that he is tortured by his knowledge of the passing of
time. His confusion and helplessness develops the theme of death and the passing of time by showing the power of those concepts on a young mind.Later in the excerpt, Oates uses repetition of the line “Every heartbeatis past and gone!” to show the circular pattern of Judd’s thoughts. He keeps returning to the same idea, and it is clearly torturing him; this shows the reader that his knowledge of death and the passing of time bothers him deeply. This point is further evidenced by the line “Them, too. All of them. Every heartbeat past and gone.” Here, Judd returns to his struggle with heartbeats and the passage of time, realizing that his family, too, will die. Judd’s repetitive thoughts characterize him as bothered, conflicted, and tortured. His revelation about life’s impermanence reveals the theme of the passage: that we are helpless to stop the passage of time and our inevitable deaths.In coming to this macabre conclusion, Judd’s character is revealed to be tortured, thoughtful, and helpless-feeling by the use of symbolism, stream-of-consciousness narration, and the repetition of the thought “Every heartbeatis past and gone!” Through these devices and Judd’s internal conflict, Oates explores the theme of death and the passing of time.
The timeline carries on chronologically, the intense imagery exaggerated to allow the poem to mimic childlike mannerisms. This, subjectively, lets the reader experience the adventure through the young speaker’s eyes. The personification of “sunset”, (5) “shutters”, (8) “shadows”, (19) and “lamplights” (10) makes the world appear alive and allows nothing to be a passing detail, very akin to a child’s imagination. The sunset, alive as it may seem, ordinarily depicts a euphemism for death, similar to the image of the “shutters closing like the eyelids”
In the novel "We Were the Mulvaneys" by Joyce Carol Oates, the act of rape causes the Mulvaney family to become distant and silent. Since no one wants to talk about the violent event except the youngest son Judd, there were consequences. The consequences of not talking about it are dramatic. The family looses contact with each other, and becomes angry towards each other. However, Judd wants to talk about it, and understand what happened. Since he does want to talk about it, he keeps in contact with every family member, and consequently there is no anger towards him.
This blues poem discusses an incredibly sensitive topic: the death of Trethewey’s mother, who was murdered by her ex-husband when Trethewey was nineteen. Many of her poetry was inspired by the emotions following this event, and recounting memories made thereafter. “Graveyard Blues” details the funeral for Trethewey’s mother, a somber scene. The flowing words and repetition in the poem allow the reader to move quickly, the three-line stanzas grouping together moments. The poem begins with heavy lament, and the immediate movement of the dead away from the living, “Death stops the body’s work, the soul’s a journeyman [author emphasis]” (Tretheway 8, line 6). Like the epitaph from Wayfaring Stranger, Trethewey indicates that the dead depart the world of the living to some place mysterious, undefined. The living remain, and undertake a different journey, “The road going home was pocked with holes,/ That home-going road’s always full of holes” (Trethewey 8, line 10-11). Trethewey indicates that the mourning is incredibly difficult or “full of holes”, as she leaves the funeral and her mother to return home. ‘Home’ in this poem has become indicative of that which is not Trethewey’s mother, or that which is familiar and comfortable, in vast contrast to the definition of home implied in the
...n Mrs. Todd came back and found her lodger gone. So we die before our own eyes; so we see some chapters of our lives come to their natural end” (129). The closed and quiet summer of village life has come to a swift end. The narrator departs as the tide sets in, leaving Dunnet Landing in its air of isolated stillness.
The constant process of life and death, driven by an indestructible progression of time, explains the attitude of carpe diem expressed in three poems focused on human love being a fickle matter. Within the poems “To His Coy Mistress” by Andrew Marvell, “To the Virgins, to Make Much of Time” by Robert Herrick, and “Youth’s the Season Made for Joys” by John Gay, the concept of how a shy attitude towards the inevitable end of all life is exposed as an inherently useless view. Nevertheless, though their primary themes and ideas of this constant procession of time are obviously expressed, the manner in which they do this, through figurative language and imagery, is the main point in which each of these three poems can be contrasted and examined
Throughout his villanelle, “Saturday at the Border,” Hayden Carruth continuously mentions the “death-knell” (Carruth 3) to reveal his aged narrator’s anticipation of his upcoming death. The poem written in conversation with Carruth’s villanelle, “Monday at the River,” assures the narrator that despite his age, he still possesses the expertise to write a well structured poem. Additionally, the poem offers Carruth’s narrator a different attitude with which to approach his writing, as well as his death, to alleviate his feelings of distress and encourage him to write with confidence. Carruth particularly chooses to title his poem, “Saturday at the Border,” because Saturday signifies the end of the week and is a day of rest. This symbolizes
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.
..., the content and form has self-deconstructed, resulting in a meaningless reduction/manifestation of repetition. The primary focus of the poem on the death and memory of a man has been sacrificed, leaving only the skeletal membrane of any sort of focus in the poem. The “Dirge” which initially was meant to reflect on the life of the individual has been completely abstracted. The “Dirge” the reader is left with at the end of the poem is one meant for anyone and no one. Just as the internal contradictions in Kenneth Fearing’s poem have eliminated the substantial significance of each isolated concern, the reader is left without not only a resolution, but any particular tangible meaning at all. The form and content of this poem have quite effectively established a powerful modernist statement, ironically contingent on the absence and not the presence of meaning in life.
The theme in “An Occurence at Owl Creek Bridge” is brought together by three necessary literary elements. The author incorporates symbolism into the story to help support the theme that nobody can escapes death and how thoughts in the mind are so substantial in the consciousness that it can take over the reality. The author uses symbolism to support the theme that nobody can escape death Bierce showed the piece of driftwood slowly being carried away. That piece of driftwood brought hope to Peyton Farquhar, because of this his mind started to wonder out of reality. He started to go into a fantasy world where he could escape and become that driftwood in the currents of the rivers. By giving Fargher this hope the author was able to allow him to escape in only his mind. Showing that there was no reality for the execution to go undone. The author lead us into such a unbelievable r...
Mrs. Mallard’s repressed married life is a secret that she keeps to herself. She is not open and honest with her sister Josephine who has shown nothing but concern. This is clearly evident in the great care that her sister and husband’s friend Richard show to break the news of her husband’s tragic death as gently as they can. They think that she is so much in love with him that hearing the news of his death would aggravate her poor heart condition and lead to death. Little do they know that she did not love him dearly at all and in fact took the news in a very positive way, opening her arms to welcome a new life without her husband. This can be seen in the fact that when she storms into her room and her focus shifts drastically from that of her husband’s death to nature that is symbolic of new life and possibilities awaiting her. Her senses came to life; they come alive to the beauty in the nature. Her eyes could reach the vastness of the sky; she could smell the delicious breath of rain in the air; and ears became attentive to a song f...
Kenyon’s choice of a first person perspective serves as one of two main techniques she uses in developing the reader’s ability to relate to the poem’s emotional implications and thus further her argument regarding the futility of mankind’s search for closure through the mourning process. By choosing to write the poem in the first person, Kenyon encourages the reader to interpret the poem as a story told by the same person who fell victim to the tragedy it details, rather than as a mere account of events observed by a third party. This insertion of the character into the story allows the reader to carefully interpret the messages expressed through her use of diction in describing the events during and after the burial.
At a glance, the poem seems simplistic – a detailed observance of nature followed by an invitation to wash a “dear friend’s” hair. Yet this short poem highlights Bishop’s best poetic qualities, including her deliberate choice in diction, and her emotional restraint. Bishop progresses along with the reader to unfold the feelings of both sadness and joy involved in loving a person that will eventually age and pass away. The poem focuses on the intersection of love and death, an intersection that goes beyond gender and sexuality to make a far-reaching statement about the nature of being
Toni Morrison’s novel Beloved swims like a garden pond full of minnows with thoughts and memories of days gone by. Each memory is like a drop of water, and when one person brings up enough drops, a trickle of a stream is formed. The trickles make their way down the shallow slopes and inclines, pushing leaves, twigs, and other barriers out of the way, leaving small bits of themselves behind so their paths can be traced again. There is a point, a vertex, a lair, where many peoples streams unite in a valley, in the heart of a pebble lined brook, and it is here that their trickles of days gone by fuse with each other, and float hand in hand until they ultimately settle to form the backyard pond.
The speaker started the poem by desiring the privilege of death through the use of similes, metaphors, and several other forms of language. As the events progress, the speaker gradually changes their mind because of the many complications that death evokes. The speaker is discontent because of human nature; the searching for something better, although there is none. The use of language throughout this poem emphasized these emotions, and allowed the reader the opportunity to understand what the speaker felt.
In William Faulkner’s As I Lay Dying, characterization, specifically through the multitude of narrators, transforms an otherwise pedestrian plot into a complex pilgrimage to the truth. As I Lay Dying is told from the perspective of fifteen different characters in 59 chapters (Tuck 35). Nearly half (7) of the characters from whose perspective the story is narrated are members of the same family, the Bundrens. The other characters are onlookers of the Bundrens’ journey to bury their mother, Addie. Each character responds to the events that are unfolding in a unique way and his or her reactions help to characterize themselves and others.