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The importance of spiritual growth
The importance of spiritual growth
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The uncontrollable, insufferable stench pervaded the gloomy passage, I walked on in anxiety. My limbs quivered hysterically not because of cold, but of the trembling shadows around the asphalt pavement. Petrified and juddering, I uttered prayers in murmurs, imploring God or angels to protect me in this vile, desolate place. I felt instinctively that I had embarked on danger. To enter the graveyard I must skirt around a stack of brown frosted leaves, the countless flashing fragments shine in the vivid bitter light. I see the dimness in the graveyard, the cruelty and peace. Rows of tombstones stood rigid in stillness to the left and right, in front and behind, like a sea of the dead. Some were powdered with the weathering of eras; some were smooth marble with new black writing and laid with floral honours others were fractured and decaying. Most however, remained dense and unkempt, for now even their grievers had joined …show more content…
The grave gleamed in the early light that streamed through the cathedral windows. It was built with love to be the ultimate resting sign of one who had been so adored in their lifetime. The gravestone stood there with its youthful glow, robust and erect, ready to last decades or more. No matter how hard the wind blew, or how heavy the rain fell, it stood. No fire could tear it down so easily. The representation of the immortality that the soul expresses. Painted and engraved with numbers, and R.I.P.'s. The holder of love, sadness, and anger. Stones of death, for those alive. Yet, he has already perished and initiated his inevitable decay. The gravestone was unclean, full of scratches and we could feel the agony growing in that zone around the gravestone. The engraving on his gravestone was almost warn away by decades of rain, once sharp edged letter now rounded and so shallow as to be barely readable, standing as a testimony to the life of someone long forgotten, in the shadow of a great Yew
This article is a narrative. It does not aim to analyse the topic. It describes the author's experiences at the mortuary and the resulting disturbing thoughts she had.
Even from the first paragraph, Hurst's use of vocabulary evokes an emotional response to the story line. His word choice as the narrator describes his surrounding and hints to a fatal event that awaits the reader's attention. Hurst uses words and phrases such as “dead autumn,” “rotting brown magnolia,” “graveyard flowers.” The last sentence, “...speaking softly the names of our dead” adds one final melancholy statement (91). The imagery throughout the paragraph helps to imagine an eerie swamp land surrounded by death and depressing memories. This melancholy setting foresha...
The interpretations of what comes after death may vary greatly across literature, but one component remains constant: there will always be movement. In her collection Native Guard, Natasha Trethewey discusses the significance, permanence and meaning of death often. The topic is intimate and personal in her life, and inescapable in the general human experience. Part I of Native Guard hosts many of the most personal poems in the collection, and those very closely related to the death of Trethewey’s mother, and the exit of her mother’s presence from her life. In “Graveyard Blues”, Trethewey examines the definition of “home” as a place of lament, in contrast to the comforting meaning in the epitaph beginning Part I, and the significance
The funeral was supposed to be a family affair. She had not wanted to invite so many people, most of them strangers to her, to be there at the moment she said goodbye. Yet, she was not the only person who had a right to his last moments above the earth, it seemed. Everyone, from the family who knew nothing of the anguish he had suffered in his last years, to the colleagues who saw him every day but hadn’t actually seen him, to the long-lost friends and passing acquaintances who were surprised to find that he was married, let alone dead, wanted to have a last chance to gaze upon him in his open coffin and say goodbye.
The idea of graves serving memory is introduced in Part I of the collection within the poem
The Graveyard Book is a tale about Nobody (Bod) Owens, a human boy who was raised in a graveyard. Bod came to the graveyard as an infant, escaping his death by The Man Jack. Adopted by the ghosts of the deceased Mr. and Mrs. Owens, Bod is raised among the dead who inhabit the graveyard. Taught by the spirits and given Freedom of the Graveyard, he learns special talents like “fading” in order to live in the graveyard comfortably and undetected, safe from the man Jack, who is still searching for him. On his journey through childhood and adolescence, he befriends a human girl named Scarlett, helps the spirit of a witch, opens and subsequently escapes a ghoul-gate, dances the Macabray (a dance of the dead), and even attends school outside of the
The writing style of Edgar Allan Poe shows the writer to be of a dark nature. In this story, he focuses on his fascination of being buried alive. He quotes, “To be buried alive is, beyond question, the most terrific of these [ghastly] extremes which has ever fallen to the lot of mere mortality.” page 58 paragraph 3. The dark nature is reflected in this quote, showing the supernatural side of Poe which is reflected in his writing and is also a characteristic of Romanticism. Poe uses much detail, as shown in this passage, “The face assumed the usual pinched and sunken outline. The lips were of the usual marble pallor. The eyes were lusterless. There was no warmth. Pulsation had ceased. For three days the body was preserved unburied, during which it had acquired a stony rigidity.” page 59 paragraph 2. The descriptive nature of this writing paints a vivid picture that intrigues the reader to use their imagination and visualize the scene presented in the text. This use of imagery ties with aspects of Romanticism because of the nature of the descriptions Poe uses. Describing the physical features of one who seems dead is a horrifying perspective as not many people thing about the aspects of death.
(75) The Intended’s street is compared to an alley of a cemetery, and the grand piano in the drawing room to a sarcophagus, extending the “ominous, dark qualities of the wilderness” to her home
As I inched my way toward the cliff, my legs were shaking uncontrollably. I could feel the coldness of the rock beneath my feet when my toes curled around the edge in one last futile attempt at survival. My heart was racing like a trapped bird, desperate to escape. Gazing down the sheer drop, I nearly fainted; my entire life flashed before my eyes. I could hear stones breaking free and fiercely tumbling down the hillside, plummeting into the dark abyss of the forbidding black water. The trees began to rapidly close in around me in a suffocating clench, and the piercing screams from my friends did little to ease the pain. The cool breeze felt like needles upon my bare skin, leaving a trail of goose bumps. The threatening mountains surrounding me seemed to grow more sinister with each passing moment, I felt myself fighting for air. The hot summer sun began to blacken while misty clouds loomed overhead. Trembling with anxiety, I shut my eyes, murmuring one last pathetic prayer. I gathered my last breath, hoping it would last a lifetime, took a step back and plun...
In Funeral Rites, Heaney portrays various attitudes towards death, which are amplified in North as a collection, through its distinct, tri-partite structure. In the first section, Heaney concentrates on his admiration of the ceremony he experienced attending funerals in the past.The transition from past tense to present is confirmed by the strong adverb ‘Now’, and lines 33-39 focus on The Troubles plaguing Northern Ireland since the 1960s. Future tense beginning on line 40 addresses Heaney’s hope for the future, emphasizing the current lack of ritual.
The Graveyard Book by Neil Gaiman is a novel about the adventures of Nobody Owens, a young boy who was raised by the ghosts of a graveyard. It is divided in 9 chapters (including an interlude). Two years pass in between each chapter, showing the different stages of Nobody’s childhood.
Kneeling down, he runs a finger along one rose, the blossom still curling with life. Pale petals drenched in dew, leaves like wax, thorns jagged and defiant. His eyes search the grave for a trace of this new intruder. He is curious but miffed; he had believed himself to be the only visitor here. He felt a sense of belonging with the grave, as though his own name should be scrawled beneath that of the deceased.
“Elegy Written in a Country Churchyard” is a poem composed by Thomas Gray over a period of ten years. Beginning shortly after the death of his close friend Richard West in 1742, “Elegy Written in a Country Churchyard” was first published in 1751. This poem’s use of dubbal entendre may lead the intended audience away from the overall theme of death, mourning, loss, despair and sadness; however, this poem clearly uses several literary devices to convey the author’s feelings toward the death of his friend Richard West, his beloved mother, aunt and those fallen soldiers of the Civil War. This essay will discuss how Gray uses that symbolism and dubbal entendre throughout the poem to convey the inevitability of death, mourning, conflict within self, finding virtue in one’s life, dealing with one’s misfortunes and giving recognition to those who would otherwise seem insignificant.
In summer the cemetery was rich and thick as syrup with the funeral-parlor perfume of the planted peonies, dark crimson and wallpaper pink, the pompous blossoms hanging leadenly, too heavy for their light stems, bowed down with the weight of themselves and the weight of the rain, infested with upstart ants that sauntered through the plush petals as though to the manner born . . . But sometimes through to hot rush of disrespectful wind whtat shook the scrub oak and the coarse couchgrass encroaching upon the dutifully cared for habitations of the dead, the scent of the cowslips woud rise monentarily. They were though-rooted, these wild and gaudy flowers, and altough they were held back at the cemetery's edge, torn out by loving relatives determined to keep the plots clear and clealy civilized, for a second or two a person walking there could catch the faint, muskey, dust-tinged smell of things that grew and had grown always, before the portly peonies and the angels with rigid wings, when the prarie bluffs were walked though only by Cree with enigmatic faces and greasy hair.