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Analysis of theories of loss and grief
CONCEPT OF grief
Losing someone you love
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“Don’t let go”, She has tears in her eyes, she feels sorry me, I guess. I hold her stare. I don't feel anything right now, I want to close my eyes. I don't, I won't look away. I want her to know. I don't speak but I know that she knows what I'm thinking. I won't if you won’t. She's still looking right through me, holding my hand. I won't. She says. Good, because I was about to, I was going to be free. I don't let go, she doesn't either. She sees me flutter and gives me a nod. So, I let go, not too much, but not enough either. I feel a stab in my arm and I try to look to see what it is but my head doesn't move. She shakes her head, telling me no. Why can't I move my head? The void is washing over me but If I can't completely let go then I won't go, but …show more content…
Then I am scared. “No. Do you have what I need?” She comes into view, she’s wearing white. “Oh, Eric. Enough about the paintings.” The white blurry blob walks to the other side of the room, although everything just looks like white space. The white blob comes closer to me, if she has a face, I can't see it. Just two blurry black circles where a face should be. “Eric? Do you understand why you’re here?” I don't want to talk. I am tired. I close my eyes and hope that she leaves. I want to be alone, with my thoughts. “Eric? Have I lost you, yet again? You must pay attention; your life depends on it.” She’s speaking to me again, She says that as if I've been found. I am still lost. “No, quit the bullshit, and give them to me. I'm tired, restless, I want to—” “Eric, please. Enough about the paintings already, you'll get them when you need them. Now, do you know why you're here?” I can tell she’s irritated by the grunt in her voice. “Well, it's not so I can get the paintings. Why don't you tell me?” “You’re here so I can help you. I want to help you remember. It’s the only way.” Her voice is fading, I’m slipping into the void again. I am gone.
It was a rough patch, but we went through it and acquired a learning experience from it. The whole community was in such despair with your sudden disappearance. However, I’m glad you escaped the community, for without it, the society would still be isolated, unattached from the wisdom of the past.
“We just want to see it, that’s all.” “You sure he’s here?” One voice seemed to come from the room on the sofa. “Yeah, he stays here every night.” “There’s another room over there; I’m going to take a look.
“Ok ok, I’m going.” I reply again I slowly drift to sleep thinking of that cute girl I saw today, I think her name is Jill…
“A minute later she asked me if I loved her. I told her it didn’t mean anything but that I didn’t think
“I’m just as confused as you are, but would you like to come in you look a little
“Yes, it is me, no need to whisper though.” She stated, playing around with the hem of her shirt. “I need to talk to you.” She said plainly and Philip kept blinking his eyes, wondering when she would vanish again.
She was late to lunch, like usual her teacher from the class before lunch wanted to speak with her. Usually she just wanted to speak with Rebecca about her grades or if she felt like she was doing okay in class. She stopped by the bathroom to freshen up. Rebecca stopped by the mirror, looking at her reflection, her deep brown eyes, short slicked up black hair, and the piercings on her lips and eyebrow. After splashing some water on her face and wiping the water off with a paper towel. Sighing contently, Rebecca turned around. Her eyes widened, her lips parting in shock. Falling to the floor, she inched away from the pale blue, or maybe white, could it be purple figure in front of her. Not only was the pigment of this figure alarming but the person in front of her had deep black holes for eyes and no legs, it wasn’t helping that she could see right past the
“Diana, why aren’t you sleeping yet? The trip isn’t for a few days. You still have time,” my mother’s tired voice echoed from the room beside me.
"What?" she said. She wasn't even listening to me. She was looking all around the place.”( 71).
Behind it I see a girl, skin and bone, so thin that her eyes seem
Letting Go I read over hundreds of quotes trying to find the words I cannot express myself. Then one hits me “The truth is, unless you let go, unless you forgive yourself, unless you forgive the situation, unless you realize that the situation is over, you cannot move forward.” I read this quote from Steve Maraboli and realize if I stay angry about a past situation, am I only hurting myself? We have a choice to hold on to our anger and sadness or we have a choice to let go.
A harsh sensation of pain crosses my face. ‘What are you doing-!’ She stood highly, her narrowing florescent green eyes conflict with mine. ‘When will you stop your nonsense, what will that give you!’. ‘Ha!
Her skin looks ghostly pale and her eyes look empty. Looking around the room I realize that I don’t know where I am. Nothing's making sense but seeing her gives me a sense of
"All I want is for you to know me again, for me to be in your life. And, even if it can't happen right now, I would just like to know you heard my plea. I would just like to know that I'm not blocked from your memory."
When discussing the poetic form of dramatic monologue it is rare that it is not associated with and its usage attributed to the poet Robert Browning. Robert Browning has been considered the master of the dramatic monologue. Although some critics are skeptical of his invention of the form, for dramatic monologue is evidenced in poetry preceding Browning, it is believed that his extensive and varied use of the dramatic monologue has significantly contributed to the form and has had an enormous impact on modern poetry. "The dramatic monologues of Robert Browning represent the most significant use of the form in postromantic poetry" (Preminger and Brogan 799). The dramatic monologue as we understand it today "is a lyric poem in which the speaker addresses a silent listener, revealing himself in the context of a dramatic situation" (Murfin 97). "The character is speaking to an identifiable but silent listener at a dramatic moment in the speaker's life. The circumstances surrounding the conversation, one side which we "hear" as the dramatic monologue, are made by clear implication, and an insight into the character of the speaker may result" (Holman and Harmon 152).