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The theme of death used in literature
Poetic devices and figurative language
Death as a theme in literature
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Recommended: The theme of death used in literature
Life was complex during the early 1900’s. The authors show a common theme in both of these two poems. They show life and death and they also use common figurative language. Nancy Willard and Sara Teasdale use personification and metaphors throughout the poems. Life and death were explored throughout both, “Two Sunflowers Move in the Yellow Room” and There Will Come Soft Rains,” but they are told from two different perspectives about it. The most important themes that they both show is life and death and the second one is common figurative language.
First of all, Nancy Willard revealing life and death pretty well in “Two Sunflowers Move in the Yellow Room.” This is shows by sunflowers moving into the sunny room. In the stanza, sunflowers were “arranging themselves at the window.” The poet is showing personification shows that the sunflowers are trying to “arrange themselves” so that they can all get the same amount of sunlight. Also, the poet interprets metaphors when were was passing the time of the sun, the sunflowers, “count the steps of the sun.” This metaphor is revealing that people that are getting older need to take in down a notch and not do as much as they already do. All of these are interpreting that when things are living, life gets harder and that it is a hard time in life. Death is a hard time in life and death is hard for people to understand.
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On the other hand, Sara Teasdale shows life and death a different way, even though they are both using the same rhetoric which is personification and metaphors.
In her piece, “There Will Come Soft Rain,” she writes about nature and what is living and growing. In the last stanza is shown personification, “And Spring herself, when she woke at dawn. Would scarcely know that we were gone.” By personifying the season Spring, she shows that nature is just like people. Sara Teasdale shows metaphors of “soft rains” that is falling after death happens. To conclude, death is a hard
time. Altogether, each poem shows the theme of life and death with using figurative language. In “Two Sunflowers Move in the Yellow Room”, the poet shows life and death as calm in a new room that the sunflowers never been in. However, in “There Will Come Soft Rain”, the writer sees life is nature not easy, and people don’t notice death coming their way. Together, they both you some kind of nature and figurative language to show life and death. Overall, both poems help show life itself and how hard it is. The most important thing that people have to remember that life isn’t as easy as you think.
The futuristic story begins by familiarizing the reader with this house that can do pretty much anything a normal family would do, such as cook, clean, and read. Every hour a mechanical voice box stops to announce the date, weather, or event that is happening at that particular time. “There Will Come Soft Rains” is arranged chronologically, giving the effect that everything is in order, but the more you read the more you realize it’s not. At a point in the story, the mechanical voice box recites a poem by Sara Teasdale, “There Will Come Soft Rains”, about how even after human extinction the nature and animals will still remain unaffected. Even though the house is no longer occupied by anybody it still continues to carry out its day to day activities with
While Virginia Woolf’s “The Death of the Moth” and Annie Dillard’s “Living Like Weasels” both use animals as a symbol of life to share their viewpoint of life, Woolf uses sad and sympathetic tone and usual description of a typical autumn morning and Dillard uses cheerful and positive tone and almost dreamlike description of a beautiful summer evening to convey that people should live their lives the way they choose, since death is inevitable anyway.
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 progression of the sun is used as a metaphor in the comparison of time’s effect on life, decay, and death, in order to show that through procrastination and neglect to live in the moment, the “sooner that his race be run, and nearer he’s to setting” (Herrick). Once again, the necessity for believing and participating in the concept of carpe diem perpetuates itself through the model of young love. Comparing this idea with the overarching theme of time’s inevitable passage, the speaker declares in the final stanza that “having lost but once your prime, you may forever tarry” (Herrick). With a focus on the physical, the entire process of decay here becomes a much more tangible subject to concentrate on, instead of a purely emotional outlook on
In the first instance, death is portrayed as a “bear” (2) that reaches out seasonally. This is then followed by a man whom “ comes and takes all the bright coins from his purse / / to buy me…” This ever-changing persona that encapsulates death brings forth a curiosity about death and its presence in the living world. In the second stanza, “measles-pox” (6) is an illness used to portray death’s existence in a distinctive embodiment. This uncertainty creates the illusion of warmth and welcomenesss and is further demonstrated through the reproduction of death as an eminent figure. Further inspection allows the reader to understand death as a swift encounter. The quick imagery brought forth by words such as “snaps” and “shut” provoke a sense of startle in which the audience may dispel any idea of expectedness in death’s coming. This essential idea of apparent arrival transitions to a slower, foreseeable fate where one can imagine the enduring pain experienced “an iceberg between shoulder blades” (line 8). This shift characterizes the constant adaptation in appearance that death acquires. Moreover, the idea of warmth radiating from death’s presence reemerges with the introduction to a “cottage of darkness” (line 10), which to some may bring about a feeling of pleasantry and comfort. It is important to note that line 10 was the sole occurrence of a rhetorical question that the speaker
In Katherine Mansfield’s “The Garden Party” and in D.H. Lawrence’s “Odour of Chrysanthemums,” two women were in a situation where death was literally at their feet. In “The Garden Party,” Laura finds herself contemplating the dead body of Mr. Scott, a man of lower class who lived at the bottom of the hill from her house. In “Odour of Chrysanthemums,” Elizabeth finds herself contemplating the dead body of her husband, Walter. Although the relationships these women shared with the dead men were completely opposite, they both had striking similarities in the ways that they handled the situation. Both women ignored the feelings of the families of the deceased, failed to refer to the deceased by name, felt shame in the presence of the deceased and both had a life and death epiphany. Although Laura and Elizabeth were in two similar yet very different situations, they both had contemplated the dead men, acted in similar ways, felt similar emotions and both ended up having an epiphany regarding life and death at the end of the story.
“Anyone lived in a pretty how town,” by E.E. Cummings, is a poem that alludes to the circle of life and how birth and death are a natural part of this cycle. This meaning is conveyed by a complex metaphor; broken down, this metaphor slides away to reveal the true social commentary behind it. This poem is an allegory; the speaker uses pronouns with unclear antecedents to mask the true meaning and add poetic flair to the simple belief he or she presents.
The two poems, “Do Not Go Gentle into That Good Night”, by Dylan Thomas and, “Because I Could Not Wait for Death”, by Emily Dickinson, we find two distinct treatments on the same theme, death. Although they both represent death, they also represent it as something other than death. Death brings about a variety of different feelings, because no two people feel the same way or believe the same thing. The fact that our faith is unknown makes the notion of death a common topic, as writers can make sense of their own feelings and emotions and in the process hope to make readers make sense of theirs too. Both Dickinson and Thomas are two well known and revered poets for their eloquent capture of these emotions. The poems both explore death and the
First of all, the speaker starts her poem personifying death as a kind gentleman who comes to pick her up for her death journey. It is obvious if the reader looks at “He kindly stopped for me” (2). T...
"The Yellow Violet" vividly expresses the nature of life in a very simple way. Bryant takes the cycle of a yellow violet and uses it to describe the humanistic world around him. It is very clever, too, that when he does this, he uses personification. A "modest flower" (2674) pops out from the dark, damp leaves below and "[makes] the woods of April bright" (2675). While the rest of the forests and fields go on with their life cycle this tiny flower does itsí best to make things pretty and happy. The persona describes this sight as an "early smile" (2675) and that is what kept a smile on his own face. Even the various blooms and colors that surface in May are not as joyful because when the violet blooms, it is the first color you see after a long winter of gray. This modesty of the meek flower is compared to that of a person. It's usually the poorer, less known people in the world that are the ones who really cheer you up. They will never let you down. As the persona in the poem points out, "So they, who climb to wealth, forget" (2675). This is the most important line of the entire poem. It is basically saying that those who are wrapped up in material things are just th...wrapped up. They are not dependable. Thus, the yellow violet is the modest person, which are far and few, who you can always count on to stand by you in the end and brighten up your day. This is the illustration of the nature of life.
Death is a controversial and sensitive subject. When discussing death, several questions come to mind about what happens in our afterlife, such as: where do you go and what do you see? Emily Dickinson is a poet who explores her curiosity of death and the afterlife through her creative writing ability. She displays different views on death by writing two contrasting poems: one of a softer side and another of a more ridged and scary side. When looking at dissimilar observations of death it can be seen how private and special it is; it is also understood that death is inevitable so coping with it can be taken in different ways. Emily Dickinson’s poems “Because I Could Not Stop for Death” and “I Heard A Fly Buzz When I Died” show both parallel and opposing views on death.
The first half of the poems’ images are of life, coming of age, and death.
She is known for creating radical novels, which stuck discord in many of its early readers, and writing highly respected sonnets. Similar to Behn, Smith also captures the inner thoughts of not just women, but all human beings in the sonnet “Written at the Close of Spring” and juxtaposes the beauty of the annual spring with the frailty of humanity. In the first stanza of this poem, the speaker uses imagery in order to help readers connect with the beauty and delicacy of spring flowers. In the second stanza, she calls to attention the fact that the spring flowers are dying and, to experience the beauty again, one will have to wait until next spring to enjoy them. In the third stanza, the poem’s focus changes from nature to humanity and asserts that as people age and begins to take part in, “tyrant passion, and corrosive care” (Line 11), youth becomes wasted. The speaker comes to the realization that once youth vanishes, it will forever, unlike the yearly revival of spring. The major fault of this sonnet is that it can be difficult to understand and has several different messages, some of which are not as strong or enlightening as
...allowed full autonomy, free from the necessities of sec and procreation. Therefore, the retreat to this state of the garden is a rejection of the entire world and satiety, and what is presented as a validating state of satisfaction of the speaker is doomed to last a short time, as it presumes that in a greater privilege is gained than from “a mortal’s share” (61). In the poem’s closing stanza, with its image of the flower dial, the speaker returns to the earthly reality. “How could such sweet and wholesome hours / Be reckoned but with herbs and flowers!” (71-72), herb and flowers are transient, quickly dying things, unsustainable through seasons. Thus, the image of the floral clock signifies that time is not still, seasons change and the speaker is not in a timelessness of eternity (heaven) yet and therefore his stay in the garden must be similarly short-lived.
Katherine Mansfield explores profoundly the world of death and its impact on a person in her short story, "The Garden Party."