Emily Dickinson became very well known for her fascination with death. Many of her poems focus on loss or loneliness, but the most compelling ones talk particularly about dying, specifically her own death and her own afterlife. Her captivation with suffering gives her poems a rare aspect, giving insight into a mind and a topic we know very little about. “Because I could not stop for Death” closely demonstrates Emily’s fascination with her religious doubts and life continuing after death. In this poem, the speaker is looking back on the moment of death, whereas in “I heard a fly buzz when I died,” the speaker is looking at the moments leading up to death, and in “I felt a funeral in my brain,” the speaker is describing death itself.
The opening paragraph of Sing, Unburied, Sing, reveals the backbone of the novel and it gives readers an insightful manner in how the rest of the novel will progress with the turn of every page. Jojo’s bold claim about death in the first lines, makes death a prominent theme that the characters cannot escape from and it becomes an important sustenance to each of them as they face their personal demons that plague them constantly throughout the novel. The reoccurring theme of death presents a larger and deeper subject matter that goes beyond the traumatization of losing a loved one to death. The first paragraph in addition gives readers a clear picture of Jojo as a character. Similar to The Bluest Eye, Jesmyn Ward presents readers with the set-up of the novel with only a few words from one of the main characters.
Dickinson on Death An analysis of the perspective on death and the afterlife presented in the poem “Because I could not stop for Death”. Death, and what happens to us afterwards has always been a much debated, highly controversial topic. Every era has its own take on it. This view on death is often reflected in the art and literature of that particular era. However, Emily Dickinson’s poem “Because I could not stop for Death” presents a more undecided perspective on death, and the afterlife, which differs from the grim, Christian perspective in the nineteenth century.
In the story, the old woman tried to commit suicide when someone she used to know saved her and said “let your death come when it comes” (pg. 611). Japanese culture sees little importance in death and most of the time they welcome it rather than ignore
Unlike the death of her father and brother Ophelia’s death is described as almost beautiful and angelic by Gertrude “Fell in the weeping brook. Her clothes spread wide, And, mermaid-like… Pulled the poor wretch from her melodious lay to muddy death.” (IV.vii.189-198). Ophelia accepted her death without any fight and made no attempt to protect her own life. She in no way fought for her life and simply gave into the eternal sleep. She gave up to the point where it could be argued that Ophelia committed suicide.
Emily Dickinson’s exploration of death and consciousness in “Because I could not stop for Death” and “I felt a Funeral, in my Brain” reveals her skepticism about eternal life and God. Much of Emily Dickinson’s work focuses on the finality of consciousness in death and her relationship with God. Her poems ponder what it means to move from physical awareness to one that is purely metaphysical. “Because I could not stop for Death” and “I felt a Funeral, in my Brain” highlight her unique view on the transfer of consciousness between life and death by reflecting on the mind during or after passing. Dickinson’s understanding of death was limited to her own experience which left her, like many others, questioning.
Sylvia Plath used this literary allusion to foreshadow that she was going to talk about death, and following by the inevitable revive. Although the speaker never mentions in the body of this poem, she is constantly mention the revive that Lazarus has experienced and the actions that this name related. Secondly, throughout Plath ‘s writing, the imagery, diction and allusions are all dark and agony, but the speaker’s attitude towards to death seems happy and positive. The speaker long for dead, but she is constantly rebirthed. Therefore, throughout reading the entire poem, her attitude is distress and agony.
This is a moment where the living become the dead, because they start living a life of silence. Like ghost these silenced stories are forced to wander through their minds but never be confronted. The author also experiences this state of living dead, and this is only brought to her attention when her brother says, "You died too you just don't know it"(17). It is only when the ghost brings attention to this lack of consciousness that the narrator is forced to face her silence. She realizes that her silence has been slowly killing her saying, "I wept…for all the words never spoken between my mother, my father, and me"(17).
The story is told from a first person perspective, as the narrator writes within her journal, while she is “absolutely forbidden” to write or work (Gilman 1). Her husband John, attempts to cure his wife with the help of the rest cure, which was a popular way of treating mental disorders in the nineteen century, and therefore implores his wife to rest, and to stop writing. Staying in a room which is covered with an old and stale yellow wallpaper, the narrator begins to develop relevance toward the wallpaper. Naming it “the paper,” the narrator’s fascination with it is the first clue of her degenerating sanity (Gilman
Laments are a poem type where the poet expresses grief or loss, and in this poem, Clarke laments for animals, people and the environment that have suffered during the war. “Lament” is written in 7 stanzas, with 3 lines per stanza. In the first stanza, Clarke laments for the pregnant green turtle, which lays “her eggs” in a “nest of sickness”. “Her” is used stimulating a more personal feeling of maternity. Clarke uses the term “nest” in an ironic way.